1967 studio album by Cream
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2 episodes with Disraeli Gears
6 episodes with Disraeli Gears
2 episodes with Disraeli Gears
2 episodes with Disraeli Gears
2 episodes with Disraeli Gears
3 episodes with Disraeli Gears
2 episodes with Disraeli Gears
2 episodes with Disraeli Gears
2 episodes with Disraeli Gears
(S4 Ep22) Cream - Disreali Gears (Reaction Records) Released November 2, 1967, Recorded May 11-15 (1967) Released in November 1967, Disraeli Gears marked a pivotal moment in Cream's evolution from a blues-based trio to psychedelic rock pioneers. Recorded in just three and a half days at Atlantic Studios in New York, the album blends surreal lyrics, experimental sounds, and distorted guitar tones into a cohesive and groundbreaking work. Produced by Felix Pappalardi (from Mountain), the record features standout tracks like “Sunshine of Your Love,” with its iconic bass riff, and “Tales of Brave Ulysses,” one of the first songs to feature a wah-wah pedal. The album was a commercial breakthrough, reaching No. 5 in the UK and No. 4 in the U.S., eventually selling over 6.8 million copies worldwide. Its vibrant, psychedelic cover art by Martin Sharp became as iconic as the music itself. Tracks like “Dance the Night Away” and “SWLABR” highlighted the band's willingness to experiment, while “Outside Woman Blues” and “Take It Back” maintained their blues roots. The synergy of Eric Clapton's innovative guitar work, Jack Bruce's powerful vocals and bass, and Ginger Baker's inventive drumming made Disraeli Gears a defining album of the era. Its legacy is a cornerstone of psychedelic rock and a testament to Cream's lasting impact on modern music.Signature Song "Strange Brew." "Sunshine of Your Love," Tales of Brave UlyssesFull Album YouTube Spotify Playlist YouTube Playlist
ReferencesScientific Reports 2020 v. 10, Article 17776J Biol Chem. 2024 Oct 24;300(12):107920J Biol Chem. 2019 Feb 19;294(16):6214–6226.Bruce and Brown. 1968. "As You Said"https://music.youtube.com/watch?v=89z56OFLaqU&si=CZ6CmnaAYm4WTQkoCream. 1967. Disraeli Gears.https://music.youtube.com/playlist?list=OLAK5uy_mI6pg0D7SREnjMfnWYJ34vBd-IgAZ3-zI&si=NRUwE8OSt05cHYxO
Among the walnut shells, wrapping paper, dried tangerine peel and broken toys beneath the Christmas Tree Of News we found a few unopened presents, among them … … Marine Homicide Unit solving murders in Scottish waters or former rock star dumping toxic waste? A crime drama Stackwaddy special. … Roy Bittan, Duke Ellington: how musical “professors” date back to ragtime. …'Suzanne' and the other three songs Leonard Cohen gave away. … Mary Martin, unsung connector and catalyst of folk-rock. … how the spare, monochrome simplicity of John Wesley Harding flew against the prevailing wind of Disraeli Gears, Forever Changes and Magical Mystery Tour. … “I'd rather be dead than wet my bed”. … the invention of the “blockbuster album”. … she's only human: what Judy Collins thought when she met Leonard Cohen. … Crowded House, John Fogerty, Ry Cooder, Ian Broudie, Patti Smith … when did having your kids in your band become almost compulsory? … producer Richard Perry's journey from Beefheart to the “surrealistic vaudeville” of Tiny Tim to the pure genius of ‘You're So Vain'. Plus a rare moment - something David Hepworth doesn't know! - and birthday guest Sandra Austin.Tickets for Word In Your Ear live here: https://www.eventbrite.co.uk/e/bowie-in-london-and-hollywood-tickets-1118845138929?aff=oddtdtcreator Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
Among the walnut shells, wrapping paper, dried tangerine peel and broken toys beneath the Christmas Tree Of News we found a few unopened presents, among them … … Marine Homicide Unit solving murders in Scottish waters or former rock star dumping toxic waste? A crime drama Stackwaddy special. … Roy Bittan, Duke Ellington: how musical “professors” date back to ragtime. …'Suzanne' and the other three songs Leonard Cohen gave away. … Mary Martin, unsung connector and catalyst of folk-rock. … how the spare, monochrome simplicity of John Wesley Harding flew against the prevailing wind of Disraeli Gears, Forever Changes and Magical Mystery Tour. … “I'd rather be dead than wet my bed”. … the invention of the “blockbuster album”. … she's only human: what Judy Collins thought when she met Leonard Cohen. … Crowded House, John Fogerty, Ry Cooder, Ian Broudie, Patti Smith … when did having your kids in your band become almost compulsory? … producer Richard Perry's journey from Beefheart to the “surrealistic vaudeville” of Tiny Tim to the pure genius of ‘You're So Vain'. Plus a rare moment - something David Hepworth doesn't know! - and birthday guest Sandra Austin.Tickets for Word In Your Ear live here: https://www.eventbrite.co.uk/e/bowie-in-london-and-hollywood-tickets-1118845138929?aff=oddtdtcreator Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
Among the walnut shells, wrapping paper, dried tangerine peel and broken toys beneath the Christmas Tree Of News we found a few unopened presents, among them … … Marine Homicide Unit solving murders in Scottish waters or former rock star dumping toxic waste? A crime drama Stackwaddy special. … Roy Bittan, Duke Ellington: how musical “professors” date back to ragtime. …'Suzanne' and the other three songs Leonard Cohen gave away. … Mary Martin, unsung connector and catalyst of folk-rock. … how the spare, monochrome simplicity of John Wesley Harding flew against the prevailing wind of Disraeli Gears, Forever Changes and Magical Mystery Tour. … “I'd rather be dead than wet my bed”. … the invention of the “blockbuster album”. … she's only human: what Judy Collins thought when she met Leonard Cohen. … Crowded House, John Fogerty, Ry Cooder, Ian Broudie, Patti Smith … when did having your kids in your band become almost compulsory? … producer Richard Perry's journey from Beefheart to the “surrealistic vaudeville” of Tiny Tim to the pure genius of ‘You're So Vain'. Plus a rare moment - something David Hepworth doesn't know! - and birthday guest Sandra Austin.Tickets for Word In Your Ear live here: https://www.eventbrite.co.uk/e/bowie-in-london-and-hollywood-tickets-1118845138929?aff=oddtdtcreator Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
Episode 168: Last Month Of 2024 And The Rock Keeps Rollin' December 3, 2024 This is some of the music that surrounded so many of us boomers during the 60s & 70s. We worked by it, played by it, soared with it, boogied to it and attached some memories to it that may well last a lifetime. For some of us, this music was something we were listening to full time. There's some Disraeli Gears music first off, Robin Trower, The supergroup The Best, ARS and many more. You know, if you want to hear a Tales Vinyl Tells when it streams live on RadioFreeNashville.org, we do that at 5 PM central time Wednesdays. The program can also be played and downloaded anytime at podbean.com, Apple podcasts, iHeart podcasts, player FM podcasts and many other podcast places. And of course you can count on hearing the Tales on studiomillswellness.com/tales-vinyl-tells. And I continue to encourage you to show your appreciation for this program by becoming a monthly sustaining member and pledging financial support monthly. There are expenses for putting this program together. You can read more and set up a monthly pledge at patron.podbean.com/talesvinyltellssupport. Thank you so much for giving and showing your support to carry on.
Our crack pair of inquisitors tackle the week's events and sift out the good, the bad and the riveting, which includes … … whatever happened to savage reviews? … “For God's sake, keep the robots out of music!”: the 50th birthday of Kraftwerk's Autobahn. … a Naked Nick Cave Plush Doll (£24) and some Jonny Greenwood olive oil. … strange tales about the making of Disraeli Gears. … what keeps Kamala Harris awake at night. … the staggering bill at Murray the K's ‘Music In The Fifth Dimension' in 1967. … Teri Garr, Diane Keaton and other fantasy girlfriends. ... “Twas nought but an skellington covered in skin”. … rock stars never seen without shades. … and birthday guest Cathal Chu cooks up another 45 ways to leave your lover – ‘Give two weeks' notice, Otis'.Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
Our crack pair of inquisitors tackle the week's events and sift out the good, the bad and the riveting, which includes … … whatever happened to savage reviews? … “For God's sake, keep the robots out of music!”: the 50th birthday of Kraftwerk's Autobahn. … a Naked Nick Cave Plush Doll (£24) and some Jonny Greenwood olive oil. … strange tales about the making of Disraeli Gears. … what keeps Kamala Harris awake at night. … the staggering bill at Murray the K's ‘Music In The Fifth Dimension' in 1967. … Teri Garr, Diane Keaton and other fantasy girlfriends. ... “Twas nought but an skellington covered in skin”. … rock stars never seen without shades. … and birthday guest Cathal Chu cooks up another 45 ways to leave your lover – ‘Give two weeks' notice, Otis'.Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
Our crack pair of inquisitors tackle the week's events and sift out the good, the bad and the riveting, which includes … … whatever happened to savage reviews? … “For God's sake, keep the robots out of music!”: the 50th birthday of Kraftwerk's Autobahn. … a Naked Nick Cave Plush Doll (£24) and some Jonny Greenwood olive oil. … strange tales about the making of Disraeli Gears. … what keeps Kamala Harris awake at night. … the staggering bill at Murray the K's ‘Music In The Fifth Dimension' in 1967. … Teri Garr, Diane Keaton and other fantasy girlfriends. ... “Twas nought but an skellington covered in skin”. … rock stars never seen without shades. … and birthday guest Cathal Chu cooks up another 45 ways to leave your lover – ‘Give two weeks' notice, Otis'.Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
Now on air: The Prog & Roll Radio Show 0:35 THE BEATLES Sgt. Pepper's' 2-Song Medley 4:44 Sgt. Pepper's Lonely Hearts Club Band (1967) CREAM Sunshine of Your Love 4:13 Disraeli Gears (1967) THE JIMI HENDRIX EXPERIENCE Foxy Lady 3:18 Are You Experienced (1967) THE WHO I Can See for Miles 4:14 The Who Sell […]
In this psychedelic episode of Dem Vinyl Boyz, we take a deep dive into Cream’s landmark album, "Disraeli Gears," released in 1967. As the second studio album from the power trio featuring Eric Clapton, Jack Bruce, and Ginger Baker, "Disraeli Gears" is celebrated for its fusion of blues, rock, and psychedelia, establishing Cream as one of the pivotal bands of the 1960s. This album features classics like "Sunshine of Your Love," whose iconic riff has echoed through the decades, and "Strange Brew," a showcase of Cream’s blues influences with a psychedelic twist. The album also includes "Tales of Brave Ulysses," a track that highlights the band's experimental approach with its vivid lyrics and innovative guitar effects. Throughout this episode, we explore how "Disraeli Gears" not only captured the spirit of the psychedelic era but also pushed the boundaries of rock music with its adventurous soundscapes and masterful musicianship. We'll discuss the collaboration with artist Martin Sharp, who created the album’s distinctive psychedelic cover art, and delve into the production techniques that made "Disraeli Gears" a defining album of its time. Join us on Dem Vinyl Boyz as we revisit "Disraeli Gears," celebrating the innovative legacy of Cream and the enduring impact of their psychedelic masterpiece. This episode is a journey through an era of musical revolution, exploring an album that continues to inspire and captivate fans around the world.
References Nat Rev Gastroenterol Hepatol. 2022 Jun;19(6):351-366 Drugs. 2016 Jul;76(11):1067-79. Front Immunol. 2021; 12: 613591 J Appl Microbiol. 2009. Jun;106(6):1908-18 Exp Cell Res. 2015 May 1; 333(2): 195–200. Mediators Inflamm. 2017; 2017: 4806541. Parsons, G. McQuinn,R. 1971. Pale Blue [ Byrds] Byrdmaniax lp. https://youtu.be/Mh3J7GqrdzY?si=Kp0XfrwPtSi4vY6q Baker, G. 1967. "Blue Condition" [Cream]. Disraeli Gears lp. https://youtu.be/bjQjEyJwPpg?si=70Nye1AGPWsgG0hs Strauss, J.(II). 1866 "An der schönen blauen Donau", Op. 314 https://youtu.be/fHzhDKwYP2s?si=umxkaYC6nRvikezX --- Send in a voice message: https://podcasters.spotify.com/pod/show/dr-daniel-j-guerra/message Support this podcast: https://podcasters.spotify.com/pod/show/dr-daniel-j-guerra/support
Rolling Stone ha actualizado esta Navidad su icónica lista con los mejores discos de la historia. Entre los álbumes que entran, 'Sour' de Olivia Rodrigo', 'folklore' de Taylor Swift, 'Un verano sin ti' de Bad Bunny y 'Renaissance' de Beyoncé. Entre los álbumes que salen, de manera muy polémica están 'Screamadelica' de Primal Scream y 'Disraeli Gears' de Cream. Debatimos estos cambios, pero sobre todo cada cuánto deberían cambiar este tipo de listas, por qué lo hacen, y si van a conseguir interesar a la gente joven.
We've got you covered!We ring in the new year by covering ten songs that Oingo Boingo covered over the years: Minnie The Moocher, Violent Love, California Girls, You Really Got Me, Monster Mash, Rawhide, Heard It Through The Grapevine, Sunshine of Your Love, I Am The Walrus, and Open Eyes.That should cover it!Song Clips:“Minnie The Moocher” - Cab Calloway, Minnie The Moocher (1931)“Violent Love” - Willie Dixon, Violent Love (1951)“Auld Lang Syne” - Guy Lombardo, Auld Lang Syne (1953)“The Monster Mash” - Bobby Pickett, Monsters' Holiday (1962)“You Really Got Me” - The Kinks, The Kinks (1964)“California Girls” - The Beach Boys, Summer Days (And Summer Nights!!) (1965)“I Am The Walrus” - The Beatles, Magical Mystery Tour (1967)“Sunshine of Your Love” - Cream, Disraeli Gears (1967)“Heard It Through The Grapevine - Creedence Clearwater Revival, Cosmos's Factory (1970)“Minnie The Moocher” - Cab Calloway, The Blues Brothers Soundtrack (1980)“Rawhide” - The Blues Brothers Band, The Blues Brothers Soundtrack (1980)“Violent Love - Oingo Boingo, Oingo Boingo EP (1980)“You Really Got Me” - Oingo Boingo, Only A Lad (1981)“Squeezit the Moocher” - Danny Elfman, Forbidden Zone Soundtrack (1983)“Violent Love” - Oingo Boingo, Boingo Alive (1988)“I Am The Walrus” - Oingo Boingo, Boingo (1994)“Change” - Oingo Boingo, Boingo (1994)“I Am The Walrus” - Oingo Boingo, Farewell: Live from the Universal Amphitheater (1996)Film Clips:The Blues Brothers (1980)The Nightmare Before Christmas (1993)Fan-Supplied Content:“Goodbye-Goodbye," "Minnie the Moocher," & "California Girls" - Mystic Knights of the Oingo Boingo, bootleg demo“California Girls” & "Open Eyes" - Oingo Boingo, bootleg demo “You Really Got Me” - Oingo Boingo, bootleg alternate mix“Heard It Through The Grapevine” & " Sunshine of Your Love" - Oingo Boingo, bootleg rehearsals“Violent Love” - Mystic Knights of the Oingo Boingo, Alcazar Theatre, 1977“Minnie the Moocher” & “On Chedrania” - Mystic Knights of the Oingo Boingo, The Aquarius, 1978“Chedrania Girls” & “Violent Love” - Mystic Knights of the Oingo Boingo, The Roxy, 3-31-1979“Violent Love” - Oingo Boingo, bootleg live rehearsal, 1980“California Girls" - Oingo Boingo, The Whisky, 10-03-1980“Monster Mash” - Oingo Boingo, Atlanta, GA, 10-27-1982“Rawhide” - Oingo Boingo, Logan, UT, 11-12-1985“Minnie The Moocher” - Oingo Boingo, Irvine, CA, 10-27-1990“Monster Mash” & “Minnie The Moocher” - Oingo Boingo Former Members, Coach House 10-30-2022The Oingo Boingo Secret Appreciation Society Podcast is produced/hosted by Robynne Winchester & produced/edited by Matt Ellsworth. Patreon is operated by Adam Burr.Please note: The music and film clips included in this podcast (listed above) fall under the "Fair Use Doctrine" as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, parody, and education.WEBSITEOingo Boingo Secret Appreciation SocietySUPPORTBuy Us A Coffee!Patreon
https://www.virginradio.it/audio/long-playing-stories/1361769/long-playing-stories-cream-disraeli-gears.htmlhttps://www.virginradio.it/audio/long-playing-stories/1361769/long-playing-stories-cream-disraeli-gears.htmlFri, 05 Jan 2024 13:58:48 +0100Virgin RadioVirgin Radiono0
On this week's Song 2, we are squarely in no argument territory. You can try but we will fold our arms, turn our backs and wait it out. Let's turn the dials back to 1967, to a time when one of the most distinguishable guitar riffs was made. We are, of course, talking about the second song from Cream's second album Disraeli Gears. And that song is… Sunshine Of Your Love.
Moms, this episode is not for you. The cream always rises to the top and this week's strange brew is no different when we become the best podcast about Cream and the 170th greatest album of all time, Disraeli Gears. But before we get to the album, we spend our first crappy hour sharing our thoughts on local building code inspectors, Snoop Dogg giving up smoke, how long it should take someone to eat a 32 ounce jar of Duke's Mayo, and the best foods to have delivered. We also become the best podcast about the Beatles final song, when we discuss the creation of Now and Then, and release four other unheard Beatles tracks that will leave you tappin' your toes. Then at (59:00) we enter a world of pain when we discuss Cream's second studio album, Disraeli Gears. We cover Cream's status as a supergroup, Eric Clapton's guitar skills, and the best songs from Guitar Hero III-Legends of Rock. Next week's episode is guaranteed to be total trash when we become the best Sonic Youth podcast and discuss the alternative rock band's 1988 album, Daydream Nation.
Quarto Valley Records proudly announces the new album “Heavenly Cream: An Acoustic Tribute to Cream.” The album takes us on a magical journey -- traveling the brief course of the iconic band's musical life -- back to the raw, stripped-down magic of the creativity of Jack Bruce, Ginger Baker, Eric Clapton, and Pete Brown. Passionately produced and mixed by Rob Cass, the new album will be released via Quarto Valley Records on November 3rd on vinyl, CD and digitally on all platforms. Malcolm Bruce, Jack's son, who, as a musician of note, was involved in the making of the album. Formed in 1966, CREAM quickly became known for their explosive impromptu style – high-volume blues jamming, extended solos and flashy instrumental showmanship. The project honors CREAM's legacy with a 15-track tribute album and features Pete Brown and Ginger Baker plus an impressive roster of renowned musicians who knew, or were inspired by the iconic supergroup including Joe Bonamassa, Deborah Bonham, Malcolm Bruce, Peter Bullick, Nathan James, Bernie Marsden, Maggie Bell, Rob Cass, Clem Clempson, Paul Rodgers and Bobby Rush. There were also invaluable musical contributions from Cheryl Alleyne, Winston Blissett, Moreno Buttinar, Abass Dodoo, John Donaldson, Pee Wee Ellis, Mo Foster, Neil Murray, Mo Nazam, Tony Remy, and Frank Tontoh. The first single off the album, “Sunshine of Your Love,” was released on September 1 and features Ginger Baker on drums, Joe Bonamassa on vocals and guitar, Malcom Bruce on piano and the late Bernie Marsden on vocals and guitar, with Neil Murray on bass and Abass Dodoo on percussion. This iconic song, co-written by Jack Bruce and Pete Brown was included on Cream's best-selling second album Disraeli Gears in November 1967 and became one of Cream's fan favorites. “Heavenly Cream: An Acoustic Tribute to Cream” was recorded at Sensible Music and the legendary Abbey Road Studios in London. Years in the making, Quarto Valley Records' executive Mike Carden initially approached Pete Brown, his long-time colleague and friend, in 2017 about a different project and out of that meeting came the concept of doing a recording -- a retrospective of CREAM music -- which both Pete and Mike mutually agreed to. Pete had remained friends with Ginger Baker over the years and brought him on board. Following suit came Malcom Bruce (Jack's son), and the gathering of the incredible talent on the album began to fall into place. On recording this album, Malcom Bruce said, “I feel very much that in my own small way I'm carrying on a tradition that's incredibly unique in the musical canon as it were.” ALBUM TRACK LISTING 1. I Feel Free (Feat: Deborah Bonham, Bernie Marsden and Malcolm Bruce) (3:17) 2. White Room (Feat: Pete Brown, Malcolm Bruce and Clem Clempson) (5:46) 3. Theme for An Imaginary Western (Feat: Pete Brown, Malcolm Bruce and Clem Clempson) (3:38) 4. We're Going Wrong (Feat Malcolm Bruce and Clem Clempson) (3:32) 5. Sunshine of Your Love (Feat: Ginger Baker, Joe Bonamassa, Malcolm Bruce and Bernie Marsden) (4:49) 6. Deserted Cities of The Heart (Feat: Joe Bonamassa, Bernie Marsden and Malcolm Bruce) (3:51) 7. Sweet Wine (Feat: Ginger Baker, Nathan James, Pee Wee Ellis, Bernie Marsden and Malcolm Bruce) (3:08) 8. Tales of Brave Ulysses (Feat: Ginger Baker, Nathan James, Pee Wee Ellis Bernie Marsden and Malcolm Bruce) (3:18) 9. Crossroads (Feat: Ginger Baker, Bernie Marsden, Joe Bonamassa and Malcolm Bruce) (2:53) 10. Take It Back (Feat: Maggie Bell, Bernie Marsden and Malcolm Bruce) (3:22) 11. Spoonful (Feat: Bobby Rush, Bernie Marsden and Malcolm Bruce) (4:39) 12. Sitting On Top Of The World (Feat: Bobby Rush, Maggie Bell, Bernie Marsden and Malcolm Bruce) (4:55) 13. Badge (Feat: Deborah Bonham, Bernie Marsden and Malcolm Bruce) (3:36) 14. Politician (Feat: Pete Brown, Bernie Marsden and Malcolm Bruce) (5:16) 15. Born Under a Bad Sign (Feat: Paul Rodgers, Bernie Marsden and Malcolm Bruce) (3:51) Learn more about your ad choices. Visit megaphone.fm/adchoices
After the hardships the critics faced last week with Meatloaf, they are getting a psychedelic break this week. To breathe some fresh musical air for all those involved Michelle chose Disraeli Gears by Cream. This episode features a rou-rou-rousing round of Guess That Melody.
Episode 166 of A History of Rock Music in Five Hundred Songs looks at “Crossroads", Cream, the myth of Robert Johnson, and whether white men can sing the blues. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-eight-minute bonus episode available, on “Tip-Toe Thru' the Tulips" by Tiny Tim. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Errata I talk about an interview with Clapton from 1967, I meant 1968. I mention a Graham Bond live recording from 1953, and of course meant 1963. I say Paul Jones was on vocals in the Powerhouse sessions. Steve Winwood was on vocals, and Jones was on harmonica. Resources As I say at the end, the main resource you need to get if you enjoyed this episode is Brother Robert by Annye Anderson, Robert Johnson's stepsister. There are three Mixcloud mixes this time. As there are so many songs by Cream, Robert Johnson, John Mayall, and Graham Bond excerpted, and Mixcloud won't allow more than four songs by the same artist in any mix, I've had to post the songs not in quite the same order in which they appear in the podcast. But the mixes are here -- one, two, three. This article on Mack McCormick gives a fuller explanation of the problems with his research and behaviour. The other books I used for the Robert Johnson sections were McCormick's Biography of a Phantom; Up Jumped the Devil: The Real Life of Robert Johnson, by Bruce Conforth and Gayle Dean Wardlow; Searching for Robert Johnson by Peter Guralnick; and Escaping the Delta by Elijah Wald. I can recommend all of these subject to the caveats at the end of the episode. The information on the history and prehistory of the Delta blues mostly comes from Before Elvis by Larry Birnbaum, with some coming from Charley Patton by John Fahey. The information on Cream comes mostly from Cream: How Eric Clapton Took the World by Storm by Dave Thompson. I also used Ginger Baker: Hellraiser by Ginger Baker and Ginette Baker, Mr Showbiz by Stephen Dando-Collins, Motherless Child by Paul Scott, and Alexis Korner: The Biography by Harry Shapiro. The best collection of Cream's work is the four-CD set Those Were the Days, which contains every track the group ever released while they were together (though only the stereo mixes of the albums, and a couple of tracks are in slightly different edits from the originals). You can get Johnson's music on many budget compilation records, as it's in the public domain in the EU, but the double CD collection produced by Steve LaVere for Sony in 2011 is, despite the problems that come from it being associated with LaVere, far and away the best option -- the remasters have a clarity that's worlds ahead of even the 1990s CD version it replaced. And for a good single-CD introduction to the Delta blues musicians and songsters who were Johnson's peers and inspirations, Back to the Crossroads: The Roots of Robert Johnson, compiled by Elijah Wald as a companion to his book on Johnson, can't be beaten, and contains many of the tracks excerpted in this episode. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before we start, a quick note that this episode contains discussion of racism, drug addiction, and early death. There's also a brief mention of death in childbirth and infant mortality. It's been a while since we looked at the British blues movement, and at the blues in general, so some of you may find some of what follows familiar, as we're going to look at some things we've talked about previously, but from a different angle. In 1968, the Bonzo Dog Band, a comedy musical band that have been described as the missing link between the Beatles and the Monty Python team, released a track called "Can Blue Men Sing the Whites?": [Excerpt: The Bonzo Dog Band, "Can Blue Men Sing the Whites?"] That track was mocking a discussion that was very prominent in Britain's music magazines around that time. 1968 saw the rise of a *lot* of British bands who started out as blues bands, though many of them went on to different styles of music -- Fleetwood Mac, Ten Years After, Jethro Tull, Chicken Shack and others were all becoming popular among the kind of people who read the music magazines, and so the question was being asked -- can white men sing the blues? Of course, the answer to that question was obvious. After all, white men *invented* the blues. Before we get any further at all, I have to make clear that I do *not* mean that white people created blues music. But "the blues" as a category, and particularly the idea of it as a music made largely by solo male performers playing guitar... that was created and shaped by the actions of white male record executives. There is no consensus as to when or how the blues as a genre started -- as we often say in this podcast "there is no first anything", but like every genre it seems to have come from multiple sources. In the case of the blues, there's probably some influence from African music by way of field chants sung by enslaved people, possibly some influence from Arabic music as well, definitely some influence from the Irish and British folk songs that by the late nineteenth century were developing into what we now call country music, a lot from ragtime, and a lot of influence from vaudeville and minstrel songs -- which in turn themselves were all very influenced by all those other things. Probably the first published composition to show any real influence of the blues is from 1904, a ragtime piano piece by James Chapman and Leroy Smith, "One O' Them Things": [Excerpt: "One O' Them Things"] That's not very recognisable as a blues piece yet, but it is more-or-less a twelve-bar blues. But the blues developed, and it developed as a result of a series of commercial waves. The first of these came in 1914, with the success of W.C. Handy's "Memphis Blues", which when it was recorded by the Victor Military Band for a phonograph cylinder became what is generally considered the first blues record proper: [Excerpt: The Victor Military Band, "Memphis Blues"] The famous dancers Vernon and Irene Castle came up with a dance, the foxtrot -- which Vernon Castle later admitted was largely inspired by Black dancers -- to be danced to the "Memphis Blues", and the foxtrot soon overtook the tango, which the Castles had introduced to the US the previous year, to become the most popular dance in America for the best part of three decades. And with that came an explosion in blues in the Handy style, cranked out by every music publisher. While the blues was a style largely created by Black performers and writers, the segregated nature of the American music industry at the time meant that most vocal performances of these early blues that were captured on record were by white performers, Black vocalists at this time only rarely getting the chance to record. The first blues record with a Black vocalist is also technically the first British blues record. A group of Black musicians, apparently mostly American but led by a Jamaican pianist, played at Ciro's Club in London, and recorded many tracks in Britain, under a name which I'm not going to say in full -- it started with Ciro's Club, and continued alliteratively with another word starting with C, a slur for Black people. In 1917 they recorded a vocal version of "St. Louis Blues", another W.C. Handy composition: [Excerpt: Ciro's Club C**n Orchestra, "St. Louis Blues"] The first American Black blues vocal didn't come until two years later, when Bert Williams, a Black minstrel-show performer who like many Black performers of his era performed in blackface even though he was Black, recorded “I'm Sorry I Ain't Got It You Could Have It If I Had It Blues,” [Excerpt: Bert Williams, "I'm Sorry I Ain't Got It You Could Have It If I Had It Blues,”] But it wasn't until 1920 that the second, bigger, wave of popularity started for the blues, and this time it started with the first record of a Black *woman* singing the blues -- Mamie Smith's "Crazy Blues": [Excerpt: Mamie Smith, "Crazy Blues"] You can hear the difference between that and anything we've heard up to that point -- that's the first record that anyone from our perspective, a hundred and three years later, would listen to and say that it bore any resemblance to what we think of as the blues -- so much so that many places still credit it as the first ever blues record. And there's a reason for that. "Crazy Blues" was one of those records that separates the music industry into before and after, like "Rock Around the Clock", "I Want to Hold Your Hand", Sgt Pepper, or "Rapper's Delight". It sold seventy-five thousand copies in its first month -- a massive number by the standards of 1920 -- and purportedly went on to sell over a million copies. Sales figures and market analysis weren't really a thing in the same way in 1920, but even so it became very obvious that "Crazy Blues" was a big hit, and that unlike pretty much any other previous records, it was a big hit among Black listeners, which meant that there was a market for music aimed at Black people that was going untapped. Soon all the major record labels were setting up subsidiaries devoted to what they called "race music", music made by and for Black people. And this sees the birth of what is now known as "classic blues", but at the time (and for decades after) was just what people thought of when they thought of "the blues" as a genre. This was music primarily sung by female vaudeville artists backed by jazz bands, people like Ma Rainey (whose earliest recordings featured Louis Armstrong in her backing band): [Excerpt: Ma Rainey, "See See Rider Blues"] And Bessie Smith, the "Empress of the Blues", who had a massive career in the 1920s before the Great Depression caused many of these "race record" labels to fold, but who carried on performing well into the 1930s -- her last recording was in 1933, produced by John Hammond, with a backing band including Benny Goodman and Jack Teagarden: [Excerpt: Bessie Smith, "Give Me a Pigfoot and a Bottle of Beer"] It wouldn't be until several years after the boom started by Mamie Smith that any record companies turned to recording Black men singing the blues accompanied by guitar or banjo. The first record of this type is probably "Norfolk Blues" by Reese DuPree from 1924: [Excerpt: Reese DuPree, "Norfolk Blues"] And there were occasional other records of this type, like "Airy Man Blues" by Papa Charlie Jackson, who was advertised as the “only man living who sings, self-accompanied, for Blues records.” [Excerpt: Papa Charlie Jackson, "Airy Man Blues"] But contrary to the way these are seen today, at the time they weren't seen as being in some way "authentic", or "folk music". Indeed, there are many quotes from folk-music collectors of the time (sadly all of them using so many slurs that it's impossible for me to accurately quote them) saying that when people sang the blues, that wasn't authentic Black folk music at all but an adulteration from commercial music -- they'd clearly, according to these folk-music scholars, learned the blues style from records and sheet music rather than as part of an oral tradition. Most of these performers were people who recorded blues as part of a wider range of material, like Blind Blake, who recorded some blues music but whose best work was his ragtime guitar instrumentals: [Excerpt: Blind Blake, "Southern Rag"] But it was when Blind Lemon Jefferson started recording for Paramount records in 1926 that the image of the blues as we now think of it took shape. His first record, "Got the Blues", was a massive success: [Excerpt: Blind Lemon Jefferson, "Got the Blues"] And this resulted in many labels, especially Paramount, signing up pretty much every Black man with a guitar they could find in the hopes of finding another Blind Lemon Jefferson. But the thing is, this generation of people making blues records, and the generation that followed them, didn't think of themselves as "blues singers" or "bluesmen". They were songsters. Songsters were entertainers, and their job was to sing and play whatever the audiences would want to hear. That included the blues, of course, but it also included... well, every song anyone would want to hear. They'd perform old folk songs, vaudeville songs, songs that they'd heard on the radio or the jukebox -- whatever the audience wanted. Robert Johnson, for example, was known to particularly love playing polka music, and also adored the records of Jimmie Rodgers, the first country music superstar. In 1941, when Alan Lomax first recorded Muddy Waters, he asked Waters what kind of songs he normally played in performances, and he was given a list that included "Home on the Range", Gene Autry's "I've Got Spurs That Jingle Jangle Jingle", and Glenn Miller's "Chattanooga Choo-Choo". We have few recordings of these people performing this kind of song though. One of the few we have is Big Bill Broonzy, who was just about the only artist of this type not to get pigeonholed as just a blues singer, even though blues is what made him famous, and who later in his career managed to record songs like the Tin Pan Alley standard "The Glory of Love": [Excerpt: Big Bill Broonzy, "The Glory of Love"] But for the most part, the image we have of the blues comes down to one man, Arthur Laibley, a sales manager for the Wisconsin Chair Company. The Wisconsin Chair Company was, as the name would suggest, a company that started out making wooden chairs, but it had branched out into other forms of wooden furniture -- including, for a brief time, large wooden phonographs. And, like several other manufacturers, like the Radio Corporation of America -- RCA -- and the Gramophone Company, which became EMI, they realised that if they were going to sell the hardware it made sense to sell the software as well, and had started up Paramount Records, which bought up a small label, Black Swan, and soon became the biggest manufacturer of records for the Black market, putting out roughly a quarter of all "race records" released between 1922 and 1932. At first, most of these were produced by a Black talent scout, J. Mayo Williams, who had been the first person to record Ma Rainey, Papa Charlie Jackson, and Blind Lemon Jefferson, but in 1927 Williams left Paramount, and the job of supervising sessions went to Arthur Laibley, though according to some sources a lot of the actual production work was done by Aletha Dickerson, Williams' former assistant, who was almost certainly the first Black woman to be what we would now think of as a record producer. Williams had been interested in recording all kinds of music by Black performers, but when Laibley got a solo Black man into the studio, what he wanted more than anything was for him to record the blues, ideally in a style as close as possible to that of Blind Lemon Jefferson. Laibley didn't have a very hands-on approach to recording -- indeed Paramount had very little concern about the quality of their product anyway, and Paramount's records are notorious for having been put out on poor-quality shellac and recorded badly -- and he only occasionally made actual suggestions as to what kind of songs his performers should write -- for example he asked Son House to write something that sounded like Blind Lemon Jefferson, which led to House writing and recording "Mississippi County Farm Blues", which steals the tune of Jefferson's "See That My Grave is Kept Clean": [Excerpt: Son House, "Mississippi County Farm Blues"] When Skip James wanted to record a cover of James Wiggins' "Forty-Four Blues", Laibley suggested that instead he should do a song about a different gun, and so James recorded "Twenty-Two Twenty Blues": [Excerpt: Skip James, "Twenty-Two Twenty Blues"] And Laibley also suggested that James write a song about the Depression, which led to one of the greatest blues records ever, "Hard Time Killing Floor Blues": [Excerpt: Skip James, "Hard Time Killing Floor Blues"] These musicians knew that they were getting paid only for issued sides, and that Laibley wanted only blues from them, and so that's what they gave him. Even when it was a performer like Charlie Patton. (Incidentally, for those reading this as a transcript rather than listening to it, Patton's name is more usually spelled ending in ey, but as far as I can tell ie was his preferred spelling and that's what I'm using). Charlie Patton was best known as an entertainer, first and foremost -- someone who would do song-and-dance routines, joke around, play guitar behind his head. He was a clown on stage, so much so that when Son House finally heard some of Patton's records, in the mid-sixties, decades after the fact, he was astonished that Patton could actually play well. Even though House had been in the room when some of the records were made, his memory of Patton was of someone who acted the fool on stage. That's definitely not the impression you get from the Charlie Patton on record: [Excerpt: Charlie Patton, "Poor Me"] Patton is, as far as can be discerned, the person who was most influential in creating the music that became called the "Delta blues". Not a lot is known about Patton's life, but he was almost certainly the half-brother of the Chatmon brothers, who made hundreds of records, most notably as members of the Mississippi Sheiks: [Excerpt: The Mississippi Sheiks, "Sitting on Top of the World"] In the 1890s, Patton's family moved to Sunflower County, Mississippi, and he lived in and around that county until his death in 1934. Patton learned to play guitar from a musician called Henry Sloan, and then Patton became a mentor figure to a *lot* of other musicians in and around the plantation on which his family lived. Some of the musicians who grew up in the immediate area around Patton included Tommy Johnson: [Excerpt: Tommy Johnson, "Big Road Blues"] Pops Staples: [Excerpt: The Staple Singers, "Will The Circle Be Unbroken"] Robert Johnson: [Excerpt: Robert Johnson, "Crossroads"] Willie Brown, a musician who didn't record much, but who played a lot with Patton, Son House, and Robert Johnson and who we just heard Johnson sing about: [Excerpt: Willie Brown, "M&O Blues"] And Chester Burnett, who went on to become known as Howlin' Wolf, and whose vocal style was equally inspired by Patton and by the country star Jimmie Rodgers: [Excerpt: Howlin' Wolf, "Smokestack Lightnin'"] Once Patton started his own recording career for Paramount, he also started working as a talent scout for them, and it was him who brought Son House to Paramount. Soon after the Depression hit, Paramount stopped recording, and so from 1930 through 1934 Patton didn't make any records. He was tracked down by an A&R man in January 1934 and recorded one final session: [Excerpt, Charlie Patton, "34 Blues"] But he died of heart failure two months later. But his influence spread through his proteges, and they themselves influenced other musicians from the area who came along a little after, like Robert Lockwood and Muddy Waters. This music -- or that portion of it that was considered worth recording by white record producers, only a tiny, unrepresentative, portion of their vast performing repertoires -- became known as the Delta Blues, and when some of these musicians moved to Chicago and started performing with electric instruments, it became Chicago Blues. And as far as people like John Mayall in Britain were concerned, Delta and Chicago Blues *were* the blues: [Excerpt: John Mayall and the Bluesbreakers, "It Ain't Right"] John Mayall was one of the first of the British blues obsessives, and for a long time thought of himself as the only one. While we've looked before at the growth of the London blues scene, Mayall wasn't from London -- he was born in Macclesfield and grew up in Cheadle Hulme, both relatively well-off suburbs of Manchester, and after being conscripted and doing two years in the Army, he had become an art student at Manchester College of Art, what is now Manchester Metropolitan University. Mayall had been a blues fan from the late 1940s, writing off to the US to order records that hadn't been released in the UK, and by most accounts by the late fifties he'd put together the biggest blues collection in Britain by quite some way. Not only that, but he had one of the earliest home tape recorders, and every night he would record radio stations from Continental Europe which were broadcasting for American service personnel, so he'd amassed mountains of recordings, often unlabelled, of obscure blues records that nobody else in the UK knew about. He was also an accomplished pianist and guitar player, and in 1956 he and his drummer friend Peter Ward had put together a band called the Powerhouse Four (the other two members rotated on a regular basis) mostly to play lunchtime jazz sessions at the art college. Mayall also started putting on jam sessions at a youth club in Wythenshawe, where he met another drummer named Hughie Flint. Over the late fifties and into the early sixties, Mayall more or less by himself built up a small blues scene in Manchester. The Manchester blues scene was so enthusiastic, in fact, that when the American Folk Blues Festival, an annual European tour which initially featured Willie Dixon, Memhis Slim, T-Bone Walker, Sonny Terry & Brownie McGhee, and John Lee Hooker, first toured Europe, the only UK date it played was at the Manchester Free Trade Hall, and people like Mick Jagger, Keith Richards, Brian Jones and Jimmy Page had to travel up from London to see it. But still, the number of blues fans in Manchester, while proportionally large, was objectively small enough that Mayall was captivated by an article in Melody Maker which talked about Alexis Korner and Cyril Davies' new band Blues Incorporated and how it was playing electric blues, the same music he was making in Manchester. He later talked about how the article had made him think that maybe now people would know what he was talking about. He started travelling down to London to play gigs for the London blues scene, and inviting Korner up to Manchester to play shows there. Soon Mayall had moved down to London. Korner introduced Mayall to Davey Graham, the great folk guitarist, with whom Korner had recently recorded as a duo: [Excerpt: Alexis Korner and Davey Graham, "3/4 AD"] Mayall and Graham performed together as a duo for a while, but Graham was a natural solo artist if ever there was one. Slowly Mayall put a band together in London. On drums was his old friend Peter Ward, who'd moved down from Manchester with him. On bass was John McVie, who at the time knew nothing about blues -- he'd been playing in a Shadows-style instrumental group -- but Mayall gave him a stack of blues records to listen to to get the feeling. And on guitar was Bernie Watson, who had previously played with Screaming Lord Sutch and the Savages. In late 1963, Mike Vernon, a blues fan who had previously published a Yardbirds fanzine, got a job working for Decca records, and immediately started signing his favourite acts from the London blues circuit. The first act he signed was John Mayall and the Bluesbreakers, and they recorded a single, "Crawling up a Hill": [Excerpt: John Mayall and the Bluesbreakers, "Crawling up a Hill (45 version)"] Mayall later called that a "clumsy, half-witted attempt at autobiographical comment", and it sold only five hundred copies. It would be the only record the Bluesbreakers would make with Watson, who soon left the band to be replaced by Roger Dean (not the same Roger Dean who later went on to design prog rock album covers). The second group to be signed by Mike Vernon to Decca was the Graham Bond Organisation. We've talked about the Graham Bond Organisation in passing several times, but not for a while and not in any great detail, so it's worth pulling everything we've said about them so far together and going through it in a little more detail. The Graham Bond Organisation, like the Rolling Stones, grew out of Alexis Korner's Blues Incorporated. As we heard in the episode on "I Wanna Be Your Man" a couple of years ago, Blues Incorporated had been started by Alexis Korner and Cyril Davies, and at the time we're joining them in 1962 featured a drummer called Charlie Watts, a pianist called Dave Stevens, and saxophone player Dick Heckstall-Smith, as well as frequent guest performers like a singer who called himself Mike Jagger, and another one, Roderick Stewart. That group finally found themselves the perfect bass player when Dick Heckstall-Smith put together a one-off group of jazz players to play an event at Cambridge University. At the gig, a little Scottish man came up to the group and told them he played bass and asked if he could sit in. They told him to bring along his instrument to their second set, that night, and he did actually bring along a double bass. Their bluff having been called, they decided to play the most complicated, difficult, piece they knew in order to throw the kid off -- the drummer, a trad jazz player named Ginger Baker, didn't like performing with random sit-in guests -- but astonishingly he turned out to be really good. Heckstall-Smith took down the bass player's name and phone number and invited him to a jam session with Blues Incorporated. After that jam session, Jack Bruce quickly became the group's full-time bass player. Bruce had started out as a classical cellist, but had switched to the double bass inspired by Bach, who he referred to as "the guv'nor of all bass players". His playing up to this point had mostly been in trad jazz bands, and he knew nothing of the blues, but he quickly got the hang of the genre. Bruce's first show with Blues Incorporated was a BBC recording: [Excerpt: Blues Incorporated, "Hoochie Coochie Man (BBC session)"] According to at least one source it was not being asked to take part in that session that made young Mike Jagger decide there was no future for him with Blues Incorporated and to spend more time with his other group, the Rollin' Stones. Soon after, Charlie Watts would join him, for almost the opposite reason -- Watts didn't want to be in a band that was getting as big as Blues Incorporated were. They were starting to do more BBC sessions and get more gigs, and having to join the Musicians' Union. That seemed like a lot of work. Far better to join a band like the Rollin' Stones that wasn't going anywhere. Because of Watts' decision to give up on potential stardom to become a Rollin' Stone, they needed a new drummer, and luckily the best drummer on the scene was available. But then the best drummer on the scene was *always* available. Ginger Baker had first played with Dick Heckstall-Smith several years earlier, in a trad group called the Storyville Jazzmen. There Baker had become obsessed with the New Orleans jazz drummer Baby Dodds, who had played with Louis Armstrong in the 1920s. Sadly because of 1920s recording technology, he hadn't been able to play a full kit on the recordings with Armstrong, being limited to percussion on just a woodblock, but you can hear his drumming style much better in this version of "At the Jazz Band Ball" from 1947, with Mugsy Spanier, Jack Teagarden, Cyrus St. Clair and Hank Duncan: [Excerpt: "At the Jazz Band Ball"] Baker had taken Dobbs' style and run with it, and had quickly become known as the single best player, bar none, on the London jazz scene -- he'd become an accomplished player in multiple styles, and was also fluent in reading music and arranging. He'd also, though, become known as the single person on the entire scene who was most difficult to get along with. He resigned from his first band onstage, shouting "You can stick your band up your arse", after the band's leader had had enough of him incorporating bebop influences into their trad style. Another time, when touring with Diz Disley's band, he was dumped in Germany with no money and no way to get home, because the band were so sick of him. Sometimes this was because of his temper and his unwillingness to suffer fools -- and he saw everyone else he ever met as a fool -- and sometimes it was because of his own rigorous musical ideas. He wanted to play music *his* way, and wouldn't listen to anyone who told him different. Both of these things got worse after he fell under the influence of a man named Phil Seaman, one of the only drummers that Baker respected at all. Seaman introduced Baker to African drumming, and Baker started incorporating complex polyrhythms into his playing as a result. Seaman also though introduced Baker to heroin, and while being a heroin addict in the UK in the 1960s was not as difficult as it later became -- both heroin and cocaine were available on prescription to registered addicts, and Baker got both, which meant that many of the problems that come from criminalisation of these drugs didn't affect addicts in the same way -- but it still did not, by all accounts, make him an easier person to get along with. But he *was* a fantastic drummer. As Dick Heckstall-Smith said "With the advent of Ginger, the classic Blues Incorporated line-up, one which I think could not be bettered, was set" But Alexis Korner decided that the group could be bettered, and he had some backers within the band. One of the other bands on the scene was the Don Rendell Quintet, a group that played soul jazz -- that style of jazz that bridged modern jazz and R&B, the kind of music that Ray Charles and Herbie Hancock played: [Excerpt: The Don Rendell Quintet, "Manumission"] The Don Rendell Quintet included a fantastic multi-instrumentalist, Graham Bond, who doubled on keyboards and saxophone, and Bond had been playing occasional experimental gigs with the Johnny Burch Octet -- a group led by another member of the Rendell Quartet featuring Heckstall-Smith, Bruce, Baker, and a few other musicians, doing wholly-improvised music. Heckstall-Smith, Bruce, and Baker all enjoyed playing with Bond, and when Korner decided to bring him into the band, they were all very keen. But Cyril Davies, the co-leader of the band with Korner, was furious at the idea. Davies wanted to play strict Chicago and Delta blues, and had no truck with other forms of music like R&B and jazz. To his mind it was bad enough that they had a sax player. But the idea that they would bring in Bond, who played sax and... *Hammond* organ? Well, that was practically blasphemy. Davies quit the group at the mere suggestion. Bond was soon in the band, and he, Bruce, and Baker were playing together a *lot*. As well as performing with Blues Incorporated, they continued playing in the Johnny Burch Octet, and they also started performing as the Graham Bond Trio. Sometimes the Graham Bond Trio would be Blues Incorporated's opening act, and on more than one occasion the Graham Bond Trio, Blues Incorporated, and the Johnny Burch Octet all had gigs in different parts of London on the same night and they'd have to frantically get from one to the other. The Graham Bond Trio also had fans in Manchester, thanks to the local blues scene there and their connection with Blues Incorporated, and one night in February 1963 the trio played a gig there. They realised afterwards that by playing as a trio they'd made £70, when they were lucky to make £20 from a gig with Blues Incorporated or the Octet, because there were so many members in those bands. Bond wanted to make real money, and at the next rehearsal of Blues Incorporated he announced to Korner that he, Bruce, and Baker were quitting the band -- which was news to Bruce and Baker, who he hadn't bothered consulting. Baker, indeed, was in the toilet when the announcement was made and came out to find it a done deal. He was going to kick up a fuss and say he hadn't been consulted, but Korner's reaction sealed the deal. As Baker later said "‘he said “it's really good you're doing this thing with Graham, and I wish you the best of luck” and all that. And it was a bit difficult to turn round and say, “Well, I don't really want to leave the band, you know.”'" The Graham Bond Trio struggled at first to get the gigs they were expecting, but that started to change when in April 1963 they became the Graham Bond Quartet, with the addition of virtuoso guitarist John McLaughlin. The Quartet soon became one of the hottest bands on the London R&B scene, and when Duffy Power, a Larry Parnes teen idol who wanted to move into R&B, asked his record label to get him a good R&B band to back him on a Beatles cover, it was the Graham Bond Quartet who obliged: [Excerpt: Duffy Power, "I Saw Her Standing There"] The Quartet also backed Power on a package tour with other Parnes acts, but they were also still performing their own blend of hard jazz and blues, as can be heard in this recording of the group live in June 1953: [Excerpt: The Graham Bond Quartet, "Ho Ho Country Kicking Blues (Live at Klooks Kleek)"] But that lineup of the group didn't last very long. According to the way Baker told the story, he fired McLaughlin from the group, after being irritated by McLaughlin complaining about something on a day when Baker was out of cocaine and in no mood to hear anyone else's complaints. As Baker said "We lost a great guitar player and I lost a good friend." But the Trio soon became a Quartet again, as Dick Heckstall-Smith, who Baker had wanted in the band from the start, joined on saxophone to replace McLaughlin's guitar. But they were no longer called the Graham Bond Quartet. Partly because Heckstall-Smith joining allowed Bond to concentrate just on his keyboard playing, but one suspects partly to protect against any future lineup changes, the group were now The Graham Bond ORGANisation -- emphasis on the organ. The new lineup of the group got signed to Decca by Vernon, and were soon recording their first single, "Long Tall Shorty": [Excerpt: The Graham Bond Organisation, "Long Tall Shorty"] They recorded a few other songs which made their way onto an EP and an R&B compilation, and toured intensively in early 1964, as well as backing up Power on his follow-up to "I Saw Her Standing There", his version of "Parchman Farm": [Excerpt: Duffy Power, "Parchman Farm"] They also appeared in a film, just like the Beatles, though it was possibly not quite as artistically successful as "A Hard Day's Night": [Excerpt: Gonks Go Beat trailer] Gonks Go Beat is one of the most bizarre films of the sixties. It's a far-future remake of Romeo and Juliet. where the two star-crossed lovers are from opposing countries -- Beatland and Ballad Isle -- who only communicate once a year in an annual song contest which acts as their version of a war, and is overseen by "Mr. A&R", played by Frank Thornton, who would later star in Are You Being Served? Carry On star Kenneth Connor is sent by aliens to try to bring peace to the two warring countries, on pain of exile to Planet Gonk, a planet inhabited solely by Gonks (a kind of novelty toy for which there was a short-lived craze then). Along the way Connor encounters such luminaries of British light entertainment as Terry Scott and Arthur Mullard, as well as musical performances by Lulu, the Nashville Teens, and of course the Graham Bond Organisation, whose performance gets them a telling-off from a teacher: [Excerpt: Gonks Go Beat!] The group as a group only performed one song in this cinematic masterpiece, but Baker also made an appearance in a "drum battle" sequence where eight drummers played together: [Excerpt: Gonks Go Beat drum battle] The other drummers in that scene included, as well as some lesser-known players, Andy White who had played on the single version of "Love Me Do", Bobby Graham, who played on hits by the Kinks and the Dave Clark Five, and Ronnie Verrell, who did the drumming for Animal in the Muppet Show. Also in summer 1964, the group performed at the Fourth National Jazz & Blues Festival in Richmond -- the festival co-founded by Chris Barber that would evolve into the Reading Festival. The Yardbirds were on the bill, and at the end of their set they invited Bond, Baker, Bruce, Georgie Fame, and Mike Vernon onto the stage with them, making that the first time that Eric Clapton, Ginger Baker, and Jack Bruce were all on stage together. Soon after that, the Graham Bond Organisation got a new manager, Robert Stigwood. Things hadn't been working out for them at Decca, and Stigwood soon got the group signed to EMI, and became their producer as well. Their first single under Stigwood's management was a cover version of the theme tune to the Debbie Reynolds film "Tammy". While that film had given Tamla records its name, the song was hardly an R&B classic: [Excerpt: The Graham Bond Organisation, "Tammy"] That record didn't chart, but Stigwood put the group out on the road as part of the disastrous Chuck Berry tour we heard about in the episode on "All You Need is Love", which led to the bankruptcy of Robert Stigwood Associates. The Organisation moved over to Stigwood's new company, the Robert Stigwood Organisation, and Stigwood continued to be the credited producer of their records, though after the "Tammy" disaster they decided they were going to take charge themselves of the actual music. Their first album, The Sound of 65, was recorded in a single three-hour session, and they mostly ran through their standard set -- a mixture of the same songs everyone else on the circuit was playing, like "Hoochie Coochie Man", "Got My Mojo Working", and "Wade in the Water", and originals like Bruce's "Train Time": [Excerpt: The Graham Bond Organisation, "Train Time"] Through 1965 they kept working. They released a non-album single, "Lease on Love", which is generally considered to be the first pop record to feature a Mellotron: [Excerpt: The Graham Bond Organisation, "Lease on Love"] and Bond and Baker also backed another Stigwood act, Winston G, on his debut single: [Excerpt: Winston G, "Please Don't Say"] But the group were developing severe tensions. Bruce and Baker had started out friendly, but by this time they hated each other. Bruce said he couldn't hear his own playing over Baker's loud drumming, Baker thought that Bruce was far too fussy a player and should try to play simpler lines. They'd both try to throw each other during performances, altering arrangements on the fly and playing things that would trip the other player up. And *neither* of them were particularly keen on Bond's new love of the Mellotron, which was all over their second album, giving it a distinctly proto-prog feel at times: [Excerpt: The Graham Bond Organisation, "Baby Can it Be True?"] Eventually at a gig in Golders Green, Baker started throwing drumsticks at Bruce's head while Bruce was trying to play a bass solo. Bruce retaliated by throwing his bass at Baker, and then jumping on him and starting a fistfight which had to be broken up by the venue security. Baker fired Bruce from the band, but Bruce kept turning up to gigs anyway, arguing that Baker had no right to sack him as it was a democracy. Baker always claimed that in fact Bond had wanted to sack Bruce but hadn't wanted to get his hands dirty, and insisted that Baker do it, but neither Bond nor Heckstall-Smith objected when Bruce turned up for the next couple of gigs. So Baker took matters into his own hands, He pulled out a knife and told Bruce "If you show up at one more gig, this is going in you." Within days, Bruce was playing with John Mayall, whose Bluesbreakers had gone through some lineup changes by this point. Roger Dean had only played with the Bluesbreakers for a short time before Mayall had replaced him. Mayall had not been impressed with Eric Clapton's playing with the Yardbirds at first -- even though graffiti saying "Clapton is God" was already starting to appear around London -- but he had been *very* impressed with Clapton's playing on "Got to Hurry", the B-side to "For Your Love": [Excerpt: The Yardbirds, "Got to Hurry"] When he discovered that Clapton had quit the band, he sprang into action and quickly recruited him to replace Dean. Clapton knew he had made the right choice when a month after he'd joined, the group got the word that Bob Dylan had been so impressed with Mayall's single "Crawling up a Hill" -- the one that nobody liked, not even Mayall himself -- that he wanted to jam with Mayall and his band in the studio. Clapton of course went along: [Excerpt: Bob Dylan and the Bluesbreakers, "If You Gotta Go, Go Now"] That was, of course, the session we've talked about in the Velvet Underground episode and elsewhere of which little other than that survives, and which Nico attended. At this point, Mayall didn't have a record contract, his experience recording with Mike Vernon having been no more successful than the Bond group's had been. But soon he got a one-off deal -- as a solo artist, not with the Bluesbreakers -- with Immediate Records. Clapton was the only member of the group to play on the single, which was produced by Immediate's house producer Jimmy Page: [Excerpt: John Mayall, "I'm Your Witchdoctor"] Page was impressed enough with Clapton's playing that he invited him round to Page's house to jam together. But what Clapton didn't know was that Page was taping their jam sessions, and that he handed those tapes over to Immediate Records -- whether he was forced to by his contract with the label or whether that had been his plan all along depends on whose story you believe, but Clapton never truly forgave him. Page and Clapton's guitar-only jams had overdubs by Bill Wyman, Ian Stewart, and drummer Chris Winter, and have been endlessly repackaged on blues compilations ever since: [Excerpt: Jimmy Page and Eric Clapton, "Draggin' My Tail"] But Mayall was having problems with John McVie, who had started to drink too much, and as soon as he found out that Jack Bruce was sacked by the Graham Bond Organisation, Mayall got in touch with Bruce and got him to join the band in McVie's place. Everyone was agreed that this lineup of the band -- Mayall, Clapton, Bruce, and Hughie Flint -- was going places: [Excerpt: John Mayall's Bluesbreakers with Jack Bruce, "Hoochie Coochie Man"] Unfortunately, it wasn't going to last long. Clapton, while he thought that Bruce was the greatest bass player he'd ever worked with, had other plans. He was going to leave the country and travel the world as a peripatetic busker. He was off on his travels, never to return. Luckily, Mayall had someone even better waiting in the wings. A young man had, according to Mayall, "kept coming down to all the gigs and saying, “Hey, what are you doing with him?” – referring to whichever guitarist was onstage that night – “I'm much better than he is. Why don't you let me play guitar for you?” He got really quite nasty about it, so finally, I let him sit in. And he was brilliant." Peter Green was probably the best blues guitarist in London at that time, but this lineup of the Bluesbreakers only lasted a handful of gigs -- Clapton discovered that busking in Greece wasn't as much fun as being called God in London, and came back very soon after he'd left. Mayall had told him that he could have his old job back when he got back, and so Green was out and Clapton was back in. And soon the Bluesbreakers' revolving door revolved again. Manfred Mann had just had a big hit with "If You Gotta Go, Go Now", the same song we heard Dylan playing earlier: [Excerpt: Manfred Mann, "If You Gotta Go, Go Now"] But their guitarist, Mike Vickers, had quit. Tom McGuinness, their bass player, had taken the opportunity to switch back to guitar -- the instrument he'd played in his first band with his friend Eric Clapton -- but that left them short a bass player. Manfred Mann were essentially the same kind of band as the Graham Bond Organisation -- a Hammond-led group of virtuoso multi-instrumentalists who played everything from hardcore Delta blues to complex modern jazz -- but unlike the Bond group they also had a string of massive pop hits, and so made a lot more money. The combination was irresistible to Bruce, and he joined the band just before they recorded an EP of jazz instrumental versions of recent hits: [Excerpt: Manfred Mann, "(I Can't Get No) Satisfaction"] Bruce had also been encouraged by Robert Stigwood to do a solo project, and so at the same time as he joined Manfred Mann, he also put out a solo single, "Drinkin' and Gamblin'" [Excerpt: Jack Bruce, "Drinkin' and Gamblin'"] But of course, the reason Bruce had joined Manfred Mann was that they were having pop hits as well as playing jazz, and soon they did just that, with Bruce playing on their number one hit "Pretty Flamingo": [Excerpt: Manfred Mann, "Pretty Flamingo"] So John McVie was back in the Bluesbreakers, promising to keep his drinking under control. Mike Vernon still thought that Mayall had potential, but the people at Decca didn't agree, so Vernon got Mayall and Clapton -- but not the other band members -- to record a single for a small indie label he ran as a side project: [Excerpt: John Mayall and Eric Clapton, "Bernard Jenkins"] That label normally only released records in print runs of ninety-nine copies, because once you hit a hundred copies you had to pay tax on them, but there was so much demand for that single that they ended up pressing up five hundred copies, making it the label's biggest seller ever. Vernon eventually convinced the heads at Decca that the Bluesbreakers could be truly big, and so he got the OK to record the album that would generally be considered the greatest British blues album of all time -- Blues Breakers, also known as the Beano album because of Clapton reading a copy of the British kids' comic The Beano in the group photo on the front. [Excerpt: John Mayall with Eric Clapton, "Ramblin' On My Mind"] The album was a mixture of originals by Mayall and the standard repertoire of every blues or R&B band on the circuit -- songs like "Parchman Farm" and "What'd I Say" -- but what made the album unique was Clapton's guitar tone. Much to the chagrin of Vernon, and of engineer Gus Dudgeon, Clapton insisted on playing at the same volume that he would on stage. Vernon later said of Dudgeon "I can remember seeing his face the very first time Clapton plugged into the Marshall stack and turned it up and started playing at the sort of volume he was going to play. You could almost see Gus's eyes meet over the middle of his nose, and it was almost like he was just going to fall over from the sheer power of it all. But after an enormous amount of fiddling around and moving amps around, we got a sound that worked." [Excerpt: John Mayall with Eric Clapton, "Hideaway"] But by the time the album cane out. Clapton was no longer with the Bluesbreakers. The Graham Bond Organisation had struggled on for a while after Bruce's departure. They brought in a trumpet player, Mike Falana, and even had a hit record -- or at least, the B-side of a hit record. The Who had just put out a hit single, "Substitute", on Robert Stigwood's record label, Reaction: [Excerpt: The Who, "Substitute"] But, as you'll hear in episode 183, they had moved to Reaction Records after a falling out with their previous label, and with Shel Talmy their previous producer. The problem was, when "Substitute" was released, it had as its B-side a song called "Circles" (also known as "Instant Party -- it's been released under both names). They'd recorded an earlier version of the song for Talmy, and just as "Substitute" was starting to chart, Talmy got an injunction against the record and it had to be pulled. Reaction couldn't afford to lose the big hit record they'd spent money promoting, so they needed to put it out with a new B-side. But the Who hadn't got any unreleased recordings. But the Graham Bond Organisation had, and indeed they had an unreleased *instrumental*. So "Waltz For a Pig" became the B-side to a top-five single, credited to The Who Orchestra: [Excerpt: The Who Orchestra, "Waltz For a Pig"] That record provided the catalyst for the formation of Cream, because Ginger Baker had written the song, and got £1,350 for it, which he used to buy a new car. Baker had, for some time, been wanting to get out of the Graham Bond Organisation. He was trying to get off heroin -- though he would make many efforts to get clean over the decades, with little success -- while Bond was starting to use it far more heavily, and was also using acid and getting heavily into mysticism, which Baker despised. Baker may have had the idea for what he did next from an article in one of the music papers. John Entwistle of the Who would often tell a story about an article in Melody Maker -- though I've not been able to track down the article itself to get the full details -- in which musicians were asked to name which of their peers they'd put into a "super-group". He didn't remember the full details, but he did remember that the consensus choice had had Eric Clapton on lead guitar, himself on bass, and Ginger Baker on drums. As he said later "I don't remember who else was voted in, but a few months later, the Cream came along, and I did wonder if somebody was maybe believing too much of their own press". Incidentally, like The Buffalo Springfield and The Pink Floyd, Cream, the band we are about to meet, had releases both with and without the definite article, and Eric Clapton at least seems always to talk about them as "the Cream" even decades later, but they're primarily known as just Cream these days. Baker, having had enough of the Bond group, decided to drive up to Oxford to see Clapton playing with the Bluesbreakers. Clapton invited him to sit in for a couple of songs, and by all accounts the band sounded far better than they had previously. Clapton and Baker could obviously play well together, and Baker offered Clapton a lift back to London in his new car, and on the drive back asked Clapton if he wanted to form a new band. Clapton was as impressed by Baker's financial skills as he was by his musicianship. He said later "Musicians didn't have cars. You all got in a van." Clearly a musician who was *actually driving a new car he owned* was going places. He agreed to Baker's plan. But of course they needed a bass player, and Clapton thought he had the perfect solution -- "What about Jack?" Clapton knew that Bruce had been a member of the Graham Bond Organisation, but didn't know why he'd left the band -- he wasn't particularly clued in to what the wider music scene was doing, and all he knew was that Bruce had played with both him and Baker, and that he was the best bass player he'd ever played with. And Bruce *was* arguably the best bass player in London at that point, and he was starting to pick up session work as well as his work with Manfred Mann. For example it's him playing on the theme tune to "After The Fox" with Peter Sellers, the Hollies, and the song's composer Burt Bacharach: [Excerpt: The Hollies with Peter Sellers, "After the Fox"] Clapton was insistent. Baker's idea was that the band should be the best musicians around. That meant they needed the *best* musicians around, not the second best. If Jack Bruce wasn't joining, Eric Clapton wasn't joining either. Baker very reluctantly agreed, and went round to see Bruce the next day -- according to Baker it was in a spirit of generosity and giving Bruce one more chance, while according to Bruce he came round to eat humble pie and beg for forgiveness. Either way, Bruce agreed to join the band. The three met up for a rehearsal at Baker's home, and immediately Bruce and Baker started fighting, but also immediately they realised that they were great at playing together -- so great that they named themselves the Cream, as they were the cream of musicians on the scene. They knew they had something, but they didn't know what. At first they considered making their performances into Dada projects, inspired by the early-twentieth-century art movement. They liked a band that had just started to make waves, the Bonzo Dog Doo-Dah Band -- who had originally been called the Bonzo Dog Dada Band -- and they bought some props with the vague idea of using them on stage in the same way the Bonzos did. But as they played together they realised that they needed to do something different from that. At first, they thought they needed a fourth member -- a keyboard player. Graham Bond's name was brought up, but Clapton vetoed him. Clapton wanted Steve Winwood, the keyboard player and vocalist with the Spencer Davis Group. Indeed, Winwood was present at what was originally intended to be the first recording session the trio would play. Joe Boyd had asked Eric Clapton to round up a bunch of players to record some filler tracks for an Elektra blues compilation, and Clapton had asked Bruce and Baker to join him, Paul Jones on vocals, Winwood on Hammond and Clapton's friend Ben Palmer on piano for the session. Indeed, given that none of the original trio were keen on singing, that Paul Jones was just about to leave Manfred Mann, and that we know Clapton wanted Winwood in the band, one has to wonder if Clapton at least half-intended for this to be the eventual lineup of the band. If he did, that plan was foiled by Baker's refusal to take part in the session. Instead, this one-off band, named The Powerhouse, featured Pete York, the drummer from the Spencer Davis Group, on the session, which produced the first recording of Clapton playing on the Robert Johnson song originally titled "Cross Road Blues" but now generally better known just as "Crossroads": [Excerpt: The Powerhouse, "Crossroads"] We talked about Robert Johnson a little back in episode ninety-seven, but other than Bob Dylan, who was inspired by his lyrics, we had seen very little influence from Johnson up to this point, but he's going to be a major influence on rock guitar for the next few years, so we should talk about him a little here. It's often said that nobody knew anything about Robert Johnson, that he was almost a phantom other than his records which existed outside of any context as artefacts of their own. That's... not really the case. Johnson had died a little less than thirty years earlier, at only twenty-seven years old. Most of his half-siblings and step-siblings were alive, as were his son, his stepson, and dozens of musicians he'd played with over the years, women he'd had affairs with, and other assorted friends and relatives. What people mean is that information about Johnson's life was not yet known by people they consider important -- which is to say white blues scholars and musicians. Indeed, almost everything people like that -- people like *me* -- know of the facts of Johnson's life has only become known to us in the last four years. If, as some people had expected, I'd started this series with an episode on Johnson, I'd have had to redo the whole thing because of the information that's made its way to the public since then. But here's what was known -- or thought -- by white blues scholars in 1966. Johnson was, according to them, a field hand from somewhere in Mississippi, who played the guitar in between working on the cotton fields. He had done two recording sessions, in 1936 and 1937. One song from his first session, "Terraplane Blues", had been a very minor hit by blues standards: [Excerpt: Robert Johnson, "Terraplane Blues"] That had sold well -- nobody knows how well, but maybe as many as ten thousand copies, and it was certainly a record people knew in 1937 if they liked the Delta blues, but ten thousand copies total is nowhere near the sales of really successful records, and none of the follow-ups had sold anything like that much -- many of them had sold in the hundreds rather than the thousands. As Elijah Wald, one of Johnson's biographers put it "knowing about Johnson and Muddy Waters but not about Leroy Carr or Dinah Washington was like knowing about, say, the Sir Douglas Quintet but not knowing about the Beatles" -- though *I* would add that the Sir Douglas Quintet were much bigger during the sixties than Johnson was during his lifetime. One of the few white people who had noticed Johnson's existence at all was John Hammond, and he'd written a brief review of Johnson's first two singles under a pseudonym in a Communist newspaper. I'm going to quote it here, but the word he used to talk about Black people was considered correct then but isn't now, so I'll substitute Black for that word: "Before closing we cannot help but call your attention to the greatest [Black] blues singer who has cropped up in recent years, Robert Johnson. Recording them in deepest Mississippi, Vocalion has certainly done right by us and by the tunes "Last Fair Deal Gone Down" and "Terraplane Blues", to name only two of the four sides already released, sung to his own guitar accompaniment. Johnson makes Leadbelly sound like an accomplished poseur" Hammond had tried to get Johnson to perform at the Spirituals to Swing concerts we talked about in the very first episodes of the podcast, but he'd discovered that he'd died shortly before. He got Big Bill Broonzy instead, and played a couple of Johnson's records from a record player on the stage. Hammond introduced those recordings with a speech: "It is tragic that an American audience could not have been found seven or eight years ago for a concert of this kind. Bessie Smith was still at the height of her career and Joe Smith, probably the greatest trumpet player America ever knew, would still have been around to play obbligatos for her...dozens of other artists could have been there in the flesh. But that audience as well as this one would not have been able to hear Robert Johnson sing and play the blues on his guitar, for at that time Johnson was just an unknown hand on a Robinsonville, Mississippi plantation. Robert Johnson was going to be the big surprise of the evening for this audience at Carnegie Hall. I know him only from his Vocalion blues records and from the tall, exciting tales the recording engineers and supervisors used to bring about him from the improvised studios in Dallas and San Antonio. I don't believe Johnson had ever worked as a professional musician anywhere, and it still knocks me over when I think of how lucky it is that a talent like his ever found its way onto phonograph records. We will have to be content with playing two of his records, the old "Walkin' Blues" and the new, unreleased, "Preachin' Blues", because Robert Johnson died last week at the precise moment when Vocalion scouts finally reached him and told him that he was booked to appear at Carnegie Hall on December 23. He was in his middle twenties and nobody seems to know what caused his death." And that was, for the most part, the end of Robert Johnson's impact on the culture for a generation. The Lomaxes went down to Clarksdale, Mississippi a couple of years later -- reports vary as to whether this was to see if they could find Johnson, who they were unaware was dead, or to find information out about him, and they did end up recording a young singer named Muddy Waters for the Library of Congress, including Waters' rendition of "32-20 Blues", Johnson's reworking of Skip James' "Twenty-Two Twenty Blues": [Excerpt: Muddy Waters, "32-20 Blues"] But Johnson's records remained unavailable after their initial release until 1959, when the blues scholar Samuel Charters published the book The Country Blues, which was the first book-length treatment ever of Delta blues. Sixteen years later Charters said "I shouldn't have written The Country Blues when I did; since I really didn't know enough, but I felt I couldn't afford to wait. So The Country Blues was two things. It was a romanticization of certain aspects of black life in an effort to force the white society to reconsider some of its racial attitudes, and on the other hand it was a cry for help. I wanted hundreds of people to go out and interview the surviving blues artists. I wanted people to record them and document their lives, their environment, and their music, not only so that their story would be preserved but also so they'd get a little money and a little recognition in their last years." Charters talked about Johnson in the book, as one of the performers who played "minor roles in the story of the blues", and said that almost nothing was known about his life. He talked about how he had been poisoned by his common-law wife, about how his records were recorded in a pool hall, and said "The finest of Robert Johnson's blues have a brooding sense of torment and despair. The blues has become a personified figure of despondency." Along with Charters' book came a compilation album of the same name, and that included the first ever reissue of one of Johnson's tracks, "Preaching Blues": [Excerpt: Robert Johnson, "Preaching Blues"] Two years later, John Hammond, who had remained an ardent fan of Johnson, had Columbia put out the King of the Delta Blues Singers album. At the time no white blues scholars knew what Johnson looked like and they had no photos of him, so a generic painting of a poor-looking Black man with a guitar was used for the cover. The liner note to King of the Delta Blues Singers talked about how Johnson was seventeen or eighteen when he made his recordings, how he was "dead before he reached his twenty-first birthday, poisoned by a jealous girlfriend", how he had "seldom, if ever, been away from the plantation in Robinsville, Mississippi, where he was born and raised", and how he had had such stage fright that when he was asked to play in front of other musicians, he'd turned to face a wall so he couldn't see them. And that would be all that any of the members of the Powerhouse would know about Johnson. Maybe they'd also heard the rumours that were starting to spread that Johnson had got his guitar-playing skills by selling his soul to the devil at a crossroads at midnight, but that would have been all they knew when they recorded their filler track for Elektra: [Excerpt: The Powerhouse, "Crossroads"] Either way, the Powerhouse lineup only lasted for that one session -- the group eventually decided that a simple trio would be best for the music they wanted to play. Clapton had seen Buddy Guy touring with just a bass player and drummer a year earlier, and had liked the idea of the freedom that gave him as a guitarist. The group soon took on Robert Stigwood as a manager, which caused more arguments between Bruce and Baker. Bruce was convinced that if they were doing an all-for-one one-for-all thing they should also manage themselves, but Baker pointed out that that was a daft idea when they could get one of the biggest managers in the country to look after them. A bigger argument, which almost killed the group before it started, happened when Baker told journalist Chris Welch of the Melody Maker about their plans. In an echo of the way that he and Bruce had been resigned from Blues Incorporated without being consulted, now with no discussion Manfred Mann and John Mayall were reading in the papers that their band members were quitting before those members had bothered to mention it. Mayall was furious, especially since the album Clapton had played on hadn't yet come out. Clapton was supposed to work a month's notice while Mayall found another guitarist, but Mayall spent two weeks begging Peter Green to rejoin the band. Green was less than eager -- after all, he'd been fired pretty much straight away earlier -- but Mayall eventually persuaded him. The second he did, Mayall turned round to Clapton and told him he didn't have to work the rest of his notice -- he'd found another guitar player and Clapton was fired: [Excerpt: John Mayall's Bluesbreakers, "Dust My Blues"] Manfred Mann meanwhile took on the Beatles' friend Klaus Voorman to replace Bruce. Voorman would remain with the band until the end, and like Green was for Mayall, Voorman was in some ways a better fit for Manfred Mann than Bruce was. In particular he could double on flute, as he did for example on their hit version of Bob Dylan's "The Mighty Quinn": [Excerpt: Manfred Mann "The Mighty Quinn"] The new group, The Cream, were of course signed in the UK to Stigwood's Reaction label. Other than the Who, who only stuck around for one album, Reaction was not a very successful label. Its biggest signing was a former keyboard player for Screaming Lord Sutch, who recorded for them under the names Paul Dean and Oscar, but who later became known as Paul Nicholas and had a successful career in musical theatre and sitcom. Nicholas never had any hits for Reaction, but he did release one interesting record, in 1967: [Excerpt: Oscar, "Over the Wall We Go"] That was one of the earliest songwriting attempts by a young man who had recently named himself David Bowie. Now the group were public, they started inviting journalists to their rehearsals, which were mostly spent trying to combine their disparate musical influences --
Nos vamos a los sesenta con los sonidos del primer supergrupo de la historia, Cream. Haremos una aproximación al segundo elepé del triunvirato Eric Clapton-Jack Bruce-Ginger Baker: el clásico Disraeli Gears de 1967. Presenta Ricardo Portman. Si os gusta el programa podéis apoyar Ecos del Vinilo Radio siendo patrocinadores ¡por lo que vale un café al mes! desde el botón azul de iVoox. Recuerden que nuestros programas los pueden escuchar también en: Nuestra web https://ecosdelvinilo.com Radio M7 (Córdoba) lunes 18:00 y sábados 17:00. Distancia Radio (Córdoba) jueves y sábados 19:00 Radio Free Rock (Cartagena) viernes 18:00. Generación Radio (Medellín, Colombia) jueves y domingos 19:00 (hora Col.) Radio Hierbabuena (Lima, Perú) jueves 20:00 (hora Perú)
Hello Friends! In our latest Patron requested episode, we're taking a look today at the 1967 classic LP from British Rock Trio Cream, Disraeli Gears. Originally issued in mono and stereo mixes, this LP has occasionally been mislabelled online as a fold, outside of both sides of the Strange Brew/Tales of Brave Ulysses 45. Today I am very happy to confirm this is not the case, with each of the 11 tracks most certainly having its own dedicated mixes for both editions of the LP. However, does this mean we have one consistently definitive mix, or would a blend between the two LPs ultimately create the best listening experience? This ain't no mother's lament – let's find the answer together and dance the night away! Happy Listening, Frederick Patreon Email Instagram Back to Mono
This week on The Classic Vinyl Podcast, Justin and Tyler sit down to listen and review Cream's second studio album Disraeli Gears. With Eric Clapton, Jack Bruce and Ginger Baker making up the power trio, they are considered one of rocks first super groups. Regarded as Cream's best album and one of rocks best albums of all time, where do you think it stands? Give it a listen and let us know what your thoughts are. Support our podcast and buy us a beer https://www.buymeacoffee.com/classicvinylpod
DISRAELI GEARS — CREAM This album is often considered to be the band's defining effort, successfully blending psychedelic British rock With American blues! ARTISTS INCLUDE - Anne Murray, Ross Ryan, Michael Waugh, Ray Charles, Emmylou Harris, Gloria Estefan, and Steve Forbert. SENSATIONAL GUITARISTS INCLUDE - Eric Clapton (Cream), Dave Mason, Joe Satriani, Vince Martell (Vanilla Fudge), and Robin Trower (Procol Harum). COPYCATS ARE COOL CATS! Original Artist — If Ya Gotta Make A Fool Of Somebody— Freddie & The Dreamers. Cover Version - Vanilla Fudge James Gee, as in, Gee, I didn't say it was your fault, I said I was blaming you!!
Bill Van Veghel of the Phantom Galaxy and Land of the Creeps podcast is back, along with my friend and guitarist Ryan Musser, as we dive into the legendary second album by Cream. Disraeli Gears is where Cream cemented themselves as rock gods, and forever changed the landscape of rock music. Without Cream, there may not be heavy music as we know it.
Folk in the Park; Same slides everywhere; Bill Turnbull; High Sticker Price; Disraeli Gears; Bait your Hook; Only Fools and Horses; An interview with Tristan Gooley; Music from Rob Corcoran and the Necessary Evils
We talk about salt rifles, free rosemary, and getting hard in a day. Challenge: Movie – The Guilt Trip, Album – Disraeli Gears.
This is Play That Rock'n'Roll's interview with Kofi Baker, the drummer for The Music of Cream. Kofi came on the show to promote his new tour (with guitarist Will Johns) that celebrates "Disraeli Gears and Clapton Classics". In this interview, we discuss the new tour, how he stays healthy while on the road, why the band added Eric Clapton songs to the show, his favorite music from his father's (Ginger Baker) discography, why Malcolm Bruce (Jack's son) is no longer with the band, and the sad realities of how Ginger was exploited in his final years. Follow us on Twitter at: https://twitter.com/playthatpodcast Find us on facebook at: https://www.facebook.com/playthatpodcast
Eric Clapton has long been a controversial figure in the history of rock music, not helped by his recent statements regarding the pandemic. And after building up my disdain for him for about a year now, we take a look at one of his early albums in a band that Jackson has called "the only good thing (he's) ever done." Let's talk Cream, Disraeli Gears!
This week on our podcast we discuss and review the album Disraeli Gears by Cream.
今晚的节目将为听众朋友们分享我们非常喜爱的英国吉他大师Eric Clapton早期成立的第五支乐队，Blind faith 盲目信仰乐队。开篇曲1.Crossroads (Live:UCLA Pavley Pavilion 26 Aug 1969)十字路口（加州大学洛杉矶分校现场1969年8月26日）6:20喜欢布鲁斯音乐的听众肯定都听出来了：这是Eric Clapton非常崇拜的一位根源布鲁斯大师Robert Johnson的经典名曲Crossroads十字路口。这个现场版本来自于Eric Clapton和他的盲目信仰乐队于1969年8月26日在加州大学洛杉矶分校的现场演出。Eric Clapton的乐迷都知道后来他在美国创建的毒品和酒精治疗中心和三年一度的吉他音乐节也是用他的偶像Robert Johnson这首Crossroads的名字命名的。节目分三个部分，第一部分首先介绍这支超级摇滚乐队Blind faith 盲目信仰1969年，Eric Clapton与鼓手Ginger Baker，贝斯手Rick Grech以及Traffic乐队的Steve Winwood组建了一支被称为“超级摇滚乐团”的Blind Faith盲目信仰乐队。这是Eric Clapton早年参加过的第五个乐队，分别是：The Roosters公鸡乐队 、 The Yardbirds新兵乐队、 Bluesbreakers布鲁斯破坏者乐队 、Cream奶油乐队、Blind Faith盲目信仰乐队 。1970年组建了最后一支Derek & the Dominos迪里克与多米诺乐队后开始单飞。1969年6月7日Blind Faith在伦敦著名的海德公园举行了第一场露天演唱会，凭借EricClapton的强大号召力以及前Cream和Traffic乐队的成员班底，Blind Faith这场演出吸引了近十二万名歌迷前往现场观看，成为英国摇滚历史上的一场传奇演出。先分享一首1969年有12万乐迷齐聚的海德公园演出开篇曲:1969年6月7日的海德公园演出，盲目信仰乐队开场就翻唱了一首年轻的Eric Clapton非常欣赏的美国摇滚歌星巴迪•霍利的《Well All Right》，开始了一场奇妙的迷幻摇滚乐之旅。2.《INTRO/Well All Right》(Live: Hyde Park, London 7th June 1969) 7：521968 年中期，Cream 乐队尽管已售出数百万张唱片，并让英、美观众们惊叹不已，但乐队成员很早就处于一种混乱的分裂状态。随着1968年《Disraeli Gears》迪斯雷利齿轮专辑的成功问世，奶油乐队也逐步的走向瓦解。乐队成员之间关系越来越紧张，他们不再谈创作，相互不再倾听和沟通。其实从乐队的作品中，你能听到一种紧张感和莫名的负能量。当时Eric Clapton已经厌倦了聚光灯和马不停蹄的巡演，他希望能静下来做一些类似The Band乐队的音乐。Blind Faith名字，源于Eric Clapton想在英国组建一支自己欣赏的类似The Band那种可以创作出非常具有音乐性的乐队。在美国巡演的Eric Clapton经常给他的好友SteveWinwood打电话诉说乐队的状况，其实奶油乐队组建之前Eric Clapton就提议过让年轻的Steve Winwood加入。Steve Winwood的出现标志着Blind faith即将开启的新篇章。此时的Steve Winwood刚刚退出“交通”乐队，在SteveWinwood家里, Eric Clapton演奏了为新家“赫特伍德”创作的歌曲《Presence of the lord》 与上帝同在 。Eric Clapton在奶油时期购置了第一处属于自己的房产“赫特伍德”，房子到乔治的“金芳斯”只有半个小时车程，自此他与George Harrison成为了邻居。上次和B哥和有待老师那期The Beathles 节目也分享过George的《Here comes the sun》就是在“赫特伍德”的花园里创作的。3.Presence Of TheLord (Live: Hyde Park, London 7th June 1969) 6：28在Steve Winwood家里, Eric Clapton两人萌发了一起组乐队的想法，随后戏剧性的一幕出现了，奶油的鼓手Ginger Baker闻风而来！Ginger Baker 和 Eric Clapton 既是最好的朋友，也是两个性格迥异的人，当时他们经常以错误的方式互相摩擦关系莫名的奇妙。虽然Eric Clapton对奶油乐队时期的紧张关系心有余悸，不愿意恢复与这位才华横溢但脾气暴躁的鼓手的伙伴关系，但他实在不忍心将这位具有才华的爆裂鼓手拒之门外，金哥的出现在事实上加快了乐队的成型。Eric Clapton推荐了一位出生于法国的贝斯手Rick Grech，听说他的低音演奏在摇滚乐界具有传奇色彩，而且他把小提琴和相关弦乐器的演奏技法曾带到乐队。Steve Winwood和金哥都搬进了Eric Clapton的新家 “赫特伍德”，并在客厅布置了排练设备，形成了半个录音棚，这就是那个年代最初的Home Studio。很快媒体曝光了Eric Clapton、 Steve Winwood 和Ginger Baker组乐队的消息，并在当时赋予了“超级乐队”的期待。下面介绍节目的第二部分Blind faith在1969年著名的海德公园12万人现场。1969年6月7日，一个周六的下午，Eric Clapton的新乐队Blind faith在伦敦海德公园约 12 万观众面前举行了首场演出。尽管在一个非常炎热的日子，有 12 万人来到了现场。这场免费演唱会是由一个叫布莱克希尔的企业组织的，听说Blind faith演唱会是 1969 年四场音乐会中的第一场。这支新的“超级组”在下午 5 点左右走上舞台，以一首刚才播放过的巴迪•霍利《Well All Right》开始了他们的演出，然后乐队开始表演他们首张专辑里的曲目。当年，这是第一支英国摇滚乐队被批准在伦敦的海德公园演出，但当时英国媒体几乎没有报道，流行媒体也没有太多关注这件事。听说这场摇滚乐演出几经波折，历经过俩仨次的申请才最终被批准下来，而且是免费的，海德公园的第一场摇滚乐演出就聚集了10万人+的规模。分享一首海德公园1969现场的最后一首4.《Hard to cry Today/OUTRO 》(Live: Hyde Park,London 7th June 1969) 7：39Eric Clapton一直在做一些惊人的事情，据Eric Clapton回忆说；“这场演出并不理想，当我走下舞台时像一片叶子一样颤抖，因为我觉得，我再一次会让人们失望。”表演的舞台在外观上有些简陋，只有一米高左右。金哥比较槽糕的状态以及现场的扩声系统明显无法应对海德公园这种大型的户外演出。人群中有滚石乐队的米克·贾格尔和他的女友玛丽安·费斯菲。米克也决定在海德公园举办一场免费音乐会，宣传滚石乐队的新单曲，让他们重新回到公众的视线，这对经历了低潮期的乐队来说是再合适不过的事情了。为了向站在舞台侧面观看的米克致意，盲目信仰乐队还专门演奏了滚石乐队的作品“在我的控制下《Under My Thumb》”。几天后，米克·贾格尔告诉《旋律制造者》“我觉得他们人很好。我就在舞台的后面，看不见他们，但我觉得他们不知怎么的非常紧张。金哥很棒，他是个神奇的鼓手——我所听过的最好的鼓手。”1969年7月12日乐队开始美国的巡演，首场演出是在Eric Clapton非常喜欢的纽约麦迪逊广场花园，乐队也不用大力宣传，奶油和交通乐队的大咖Eric Clapton、Ginger Baker和Steve Winwood奠定了这支新组乐队的乐迷基础。虽然这支乐队成为了1969年末期除了披头士乐队之外在美国最受欢迎的英国乐队之一，遗憾的是巡演过后，这支组建半年不到的乐队只留下唯一的一张专辑就解散了。（1969年5月成立，同年11月解散）解散的主要原因是Eric Clapton迷恋上当时的暖场乐队“德莱尼与邦妮”，这是一群来自美国南方的音乐家，不仅能弹奏出极其强悍的声音，而且表演时散发出绝对的自信。这支乐队的出现同时奠定了Eric Clapton的另一支经典乐队“德里克与多米诺”的诞生。这位酷爱布鲁斯摇滚乐的吉他手，厌倦了长期的巡演和聚光灯下大篇幅的吉他solo，Eric Clapton开始喜欢THE BAND乐队的作品和美国的南方音乐。这标志着Eric Clapton从一位乐队的主音吉他手开始向创作型的唱、作人转变。节目第三部分介绍乐队的一张，也是唯一的一张经典专辑《Blind Faith》。1969年春天，才华横溢年轻的吉米米勒作为制作人开始为乐队录制第一张也是唯一一张唱片《BlindFaith》。我收藏了一盒1969年7月1日美国发行的磁带，这也是摇滚音乐史上存在不足半年的“Blind Faith”乐队发行的唯一一张专辑，唱片一经发行就登上了美国排行榜榜首。提到这张专辑，必须隆重介绍下唱片的封面故事。这张专辑封面选用了一位年轻的半裸体女孩的形象设计。专辑在英国发行后，裸女封面招致了强烈的抗议，人们说那个女孩的形象被表现的太色情了，美国的唱片经销商竟威胁要抵制这张唱片。Eric Clapton自传提到了这段，由于乐队马上开始大规模的美国巡演，所以再版的唱片只好换上了一张乐队在Eric Clapton“赫特伍德”家中客厅里拍摄的照片了事。我今天带来了两张黑胶唱片，手里拿的这张是乐队在Eric Clapton“赫特伍德”家中客厅里拍摄的照片做封面的唱片，是首版被抵制后再版。5.《Sea of joy》，由SteveWinwood创作的。5：23选择封面的女主角时，在年纪设定上并没有马虎。考量年龄再大点，看起来会像性感海报女郎。年纪再小一点，也会显得微不足道，因此要求从小女孩过渡到女人的中间阶段。摄影师Bob Seidemann认为唯有该时期能够散发全然耀眼的纯真光芒。摄制组在伦敦地铁面试到一名14岁少女，也与她的父母会谈过，不过拍摄效果还是太成熟了，因此改由她当时11岁的妹妹Mariora Goschen上阵。可爱的Mariora一开始要求以一匹小马作为报酬，最后还是收下比较实际的40英镑。这是一张艺术处理后的相片，画面上是一位长着红色卷发的青春期女孩，景取在她腰部以上，半裸的女孩手持一只非常现代主义的银色模型飞机，它来自Eric Clapton的朋友，宝石匠米科•米利甘的设计；女孩的身后是如伯克夏丘陵般的翠绿山野，再远处是湛蓝的天空和白色的云朵。Eric Clapton立刻就喜欢上了这个设计概念，因为他觉得它准确地捕捉到了“BlindFaith”乐队名字的含义。女孩代表的天真无邪与飞机象征的经历、科学、未来并存。当时Eric Clapton认为这张精彩的封套图片加上乐队的名字会破坏原有的效果，于是摄影师想出一个主意，把乐队的名字写在包装纸上，去掉包装后就会是这张原封不动的图片。6.《Can't find my way home》3：18专辑封面女主如今已过花甲之年，而这张历经半个多世纪的美国首版发行的唱片也因一度被禁而充满传奇色彩和收藏价值。我这张1969年美国首版的黑胶唱片收藏于宝岛台湾，收藏价2000台币，当时老板娘也不懂这张黑胶唱片封面的故事，她说因为进价蛮高的所以售价也相对高一些。这几年一直无人问津最后被我这位来自北京的行家收了，觉得特别有意义。这张唱片品相还是不错的，因为是二手的，所以早就拆开了没有了那张曾写着乐队名字的包装纸，遗憾的是，至今都从未见过那张带有乐队名字的包装纸。简单介绍下这张专辑的曲目1969 年 8 月,由Jimmy Miller担任制作人发行的专辑《Blind Faith》 将乐队成员的作品排列在一张六轨 LP 中。专辑中《Sea of joy》、《Can't find my way home》都是Steve Winwood创作的。《Can't find my way home》经常被1974年Eric Clapton 录制《海洋大道461》专辑时期的乐队女歌手伊冯娜翻唱，头几年热播的美剧《This is us》 也选用过这首歌。 7.《Can't find my way home》Eric Clapton伊冯娜5:181975年8月1日发行 EC Was HereEric Clapton创作了《Presence of the Lord》，关于这首歌还有个趣闻，就是Eric Clapton总打断Steve并指导他如何演绎这首歌，Steve Winwood烦了直接怼过去，你别再告诉我怎么唱，这首歌既然是你写的，你自己唱好了。8.《Presence of the Lord》 Eric Clapton 6:43很多乐迷朋友对这支成立半年不足就解散的Blind Faith乐队并没有特别关注，也是因为很多人觉得主唱兼键盘手Steve Winwood的唱法一点都不摇滚。但这完全没有影响乐队录制的唯一一张专辑在英国和美国名列前茅的成绩。因为它是在特别短的时间里制作的，因此被认为是一种奇异的经典。然而，事后看来，Blind Faith 专辑值得重新发现和重新评估。乐团中的几位天才人物保证了这张专辑的音乐水准，在 1960 年代即将结束的动荡时期，Blind Faith 的布鲁斯摇滚融合了 Cream 和 Traffic两个乐队的声音，成为英国摇滚音乐史上的一个重要里程碑。分享下这张专辑的乐评部分；专辑的开场白，冗长的《Hard to cry Today》由SteveWinwood精心设计，展示了乐队四位成员的音乐智慧。乐队翻唱了一首巴迪·霍利的《Well All Right》，探索了更奇妙的迷幻摇滚乐之旅，这绝对是1969年时代的一首重要歌曲。Eric Clapton的《Presence of the Lord》以缓慢燃烧的强烈蓝调结束了专辑的第一面，在海德公园演出时这首歌成为了现场拍摄的一大亮点。这张唱片准备仓促， B Side 只收录了两首歌曲：第一首SteveWinwood的《Sea of Joy 》在结构上有明显的交通乐队感觉；第二首是Ginger Baker长达15分钟的作品《Do What You Like》，充满了独奏和即兴的探索性。9.《Do What You Like》15：18Winwood回到"Traffic"乐队呆了5年，然后成功单飞。Clapton则为自己找到了定位，凭借无数上榜专辑和单曲作品主宰了整个70、80甚至90年代。尽管两位老友多年来始终保持着朋友关系，但直到2008年2月，"BlindFaith"成立近40年之后，Winwood和Clapton才再次聚首。2008年2月25日到28日，盲目信仰乐队解散近40年后，EricClapton与Steve Winwood重聚在美国麦迪逊广场花园，举办了三场可以说是场场爆满的演出，无数的乐迷都亲临现场来见证这个历史性的重聚。2008年2月在美国纽约麦迪逊广场花园举行的这唱聚会演出与1969年在英国伦敦海德公园的演出同样充满着新鲜感与活力，在音乐上非常具有挑战性。两位花甲之年的音乐家为他们的乐迷上演了一场伟大的演出，百分百呈现了他们的音乐天赋。有幸的是，这场伟大的重聚演出后来陆续有影、音资料面世。如果你是一位布鲁斯摇滚歌迷，肯定不会错过这场对布鲁斯摇滚乐的探索。节目最后播放一首我个人非常喜欢的2008年5月25日美国麦迪逊广场花园现场经典10.Double Trouble(Live from Madison Square Garden)当晚Clapton的状态是有多好啊，Amazing布鲁斯旋律真是汹涌澎湃，倾泻而出。每次听都觉悲从中来不可断绝。。。所有的杯桑，伴着老克的吉他倾泻而下……沧桑道尽…老克永远是我的精神安慰这首歌的最佳版本，后半段的solo简直要逆天这个版本完胜武道馆的两个版本还有crossroad的版本盲目信仰乐队解散50周年的2019年，Eric Clapton与Steve Winwood重聚在伦敦的海德公园。Ginger Baker没有去，不知道是不是因为身体原因。我的一位好朋友宋渐渐还买了一张票，她还说Ginger Baker发了FACEBOOK预祝这场演出顺利。如今，我们敬畏的一代鼓王Ginger Baker已辞世，为这个世界留下许多传世经典。节目最后，再次向大师致敬。感谢您的聆听，下期节目见。结束曲：Hadto Cry Today (Live from Madison Square Garden)7：47
今晚的节目将为听众朋友们分享我们非常喜爱的英国吉他大师Eric Clapton早期成立的第五支乐队，Blind faith 盲目信仰乐队。开篇曲1.Crossroads (Live:UCLA Pavley Pavilion 26 Aug 1969)十字路口（加州大学洛杉矶分校现场1969年8月26日）6:20喜欢布鲁斯音乐的听众肯定都听出来了：这是Eric Clapton非常崇拜的一位根源布鲁斯大师Robert Johnson的经典名曲Crossroads十字路口。这个现场版本来自于Eric Clapton和他的盲目信仰乐队于1969年8月26日在加州大学洛杉矶分校的现场演出。Eric Clapton的乐迷都知道后来他在美国创建的毒品和酒精治疗中心和三年一度的吉他音乐节也是用他的偶像Robert Johnson这首Crossroads的名字命名的。节目分三个部分，第一部分首先介绍这支超级摇滚乐队Blind faith 盲目信仰1969年，Eric Clapton与鼓手Ginger Baker，贝斯手Rick Grech以及Traffic乐队的Steve Winwood组建了一支被称为“超级摇滚乐团”的Blind Faith盲目信仰乐队。这是Eric Clapton早年参加过的第五个乐队，分别是：The Roosters公鸡乐队 、 The Yardbirds新兵乐队、 Bluesbreakers布鲁斯破坏者乐队 、Cream奶油乐队、Blind Faith盲目信仰乐队 。1970年组建了最后一支Derek & the Dominos迪里克与多米诺乐队后开始单飞。1969年6月7日Blind Faith在伦敦著名的海德公园举行了第一场露天演唱会，凭借EricClapton的强大号召力以及前Cream和Traffic乐队的成员班底，Blind Faith这场演出吸引了近十二万名歌迷前往现场观看，成为英国摇滚历史上的一场传奇演出。先分享一首1969年有12万乐迷齐聚的海德公园演出开篇曲:1969年6月7日的海德公园演出，盲目信仰乐队开场就翻唱了一首年轻的Eric Clapton非常欣赏的美国摇滚歌星巴迪•霍利的《Well All Right》，开始了一场奇妙的迷幻摇滚乐之旅。2.《INTRO/Well All Right》(Live: Hyde Park, London 7th June 1969) 7：521968 年中期，Cream 乐队尽管已售出数百万张唱片，并让英、美观众们惊叹不已，但乐队成员很早就处于一种混乱的分裂状态。随着1968年《Disraeli Gears》迪斯雷利齿轮专辑的成功问世，奶油乐队也逐步的走向瓦解。乐队成员之间关系越来越紧张，他们不再谈创作，相互不再倾听和沟通。其实从乐队的作品中，你能听到一种紧张感和莫名的负能量。当时Eric Clapton已经厌倦了聚光灯和马不停蹄的巡演，他希望能静下来做一些类似The Band乐队的音乐。Blind Faith名字，源于Eric Clapton想在英国组建一支自己欣赏的类似The Band那种可以创作出非常具有音乐性的乐队。在美国巡演的Eric Clapton经常给他的好友SteveWinwood打电话诉说乐队的状况，其实奶油乐队组建之前Eric Clapton就提议过让年轻的Steve Winwood加入。Steve Winwood的出现标志着Blind faith即将开启的新篇章。此时的Steve Winwood刚刚退出“交通”乐队，在SteveWinwood家里, Eric Clapton演奏了为新家“赫特伍德”创作的歌曲《Presence of the lord》 与上帝同在 。Eric Clapton在奶油时期购置了第一处属于自己的房产“赫特伍德”，房子到乔治的“金芳斯”只有半个小时车程，自此他与George Harrison成为了邻居。上次和B哥和有待老师那期The Beathles 节目也分享过George的《Here comes the sun》就是在“赫特伍德”的花园里创作的。3.Presence Of TheLord (Live: Hyde Park, London 7th June 1969) 6：28在Steve Winwood家里, Eric Clapton两人萌发了一起组乐队的想法，随后戏剧性的一幕出现了，奶油的鼓手Ginger Baker闻风而来！Ginger Baker 和 Eric Clapton 既是最好的朋友，也是两个性格迥异的人，当时他们经常以错误的方式互相摩擦关系莫名的奇妙。虽然Eric Clapton对奶油乐队时期的紧张关系心有余悸，不愿意恢复与这位才华横溢但脾气暴躁的鼓手的伙伴关系，但他实在不忍心将这位具有才华的爆裂鼓手拒之门外，金哥的出现在事实上加快了乐队的成型。Eric Clapton推荐了一位出生于法国的贝斯手Rick Grech，听说他的低音演奏在摇滚乐界具有传奇色彩，而且他把小提琴和相关弦乐器的演奏技法曾带到乐队。Steve Winwood和金哥都搬进了Eric Clapton的新家 “赫特伍德”，并在客厅布置了排练设备，形成了半个录音棚，这就是那个年代最初的Home Studio。很快媒体曝光了Eric Clapton、 Steve Winwood 和Ginger Baker组乐队的消息，并在当时赋予了“超级乐队”的期待。下面介绍节目的第二部分Blind faith在1969年著名的海德公园12万人现场。1969年6月7日，一个周六的下午，Eric Clapton的新乐队Blind faith在伦敦海德公园约 12 万观众面前举行了首场演出。尽管在一个非常炎热的日子，有 12 万人来到了现场。这场免费演唱会是由一个叫布莱克希尔的企业组织的，听说Blind faith演唱会是 1969 年四场音乐会中的第一场。这支新的“超级组”在下午 5 点左右走上舞台，以一首刚才播放过的巴迪•霍利《Well All Right》开始了他们的演出，然后乐队开始表演他们首张专辑里的曲目。当年，这是第一支英国摇滚乐队被批准在伦敦的海德公园演出，但当时英国媒体几乎没有报道，流行媒体也没有太多关注这件事。听说这场摇滚乐演出几经波折，历经过俩仨次的申请才最终被批准下来，而且是免费的，海德公园的第一场摇滚乐演出就聚集了10万人+的规模。分享一首海德公园1969现场的最后一首4.《Hard to cry Today/OUTRO 》(Live: Hyde Park,London 7th June 1969) 7：39Eric Clapton一直在做一些惊人的事情，据Eric Clapton回忆说；“这场演出并不理想，当我走下舞台时像一片叶子一样颤抖，因为我觉得，我再一次会让人们失望。”表演的舞台在外观上有些简陋，只有一米高左右。金哥比较槽糕的状态以及现场的扩声系统明显无法应对海德公园这种大型的户外演出。人群中有滚石乐队的米克·贾格尔和他的女友玛丽安·费斯菲。米克也决定在海德公园举办一场免费音乐会，宣传滚石乐队的新单曲，让他们重新回到公众的视线，这对经历了低潮期的乐队来说是再合适不过的事情了。为了向站在舞台侧面观看的米克致意，盲目信仰乐队还专门演奏了滚石乐队的作品“在我的控制下《Under My Thumb》”。几天后，米克·贾格尔告诉《旋律制造者》“我觉得他们人很好。我就在舞台的后面，看不见他们，但我觉得他们不知怎么的非常紧张。金哥很棒，他是个神奇的鼓手——我所听过的最好的鼓手。”1969年7月12日乐队开始美国的巡演，首场演出是在Eric Clapton非常喜欢的纽约麦迪逊广场花园，乐队也不用大力宣传，奶油和交通乐队的大咖Eric Clapton、Ginger Baker和Steve Winwood奠定了这支新组乐队的乐迷基础。虽然这支乐队成为了1969年末期除了披头士乐队之外在美国最受欢迎的英国乐队之一，遗憾的是巡演过后，这支组建半年不到的乐队只留下唯一的一张专辑就解散了。（1969年5月成立，同年11月解散）解散的主要原因是Eric Clapton迷恋上当时的暖场乐队“德莱尼与邦妮”，这是一群来自美国南方的音乐家，不仅能弹奏出极其强悍的声音，而且表演时散发出绝对的自信。这支乐队的出现同时奠定了Eric Clapton的另一支经典乐队“德里克与多米诺”的诞生。这位酷爱布鲁斯摇滚乐的吉他手，厌倦了长期的巡演和聚光灯下大篇幅的吉他solo，Eric Clapton开始喜欢THE BAND乐队的作品和美国的南方音乐。这标志着Eric Clapton从一位乐队的主音吉他手开始向创作型的唱、作人转变。节目第三部分介绍乐队的一张，也是唯一的一张经典专辑《Blind Faith》。1969年春天，才华横溢年轻的吉米米勒作为制作人开始为乐队录制第一张也是唯一一张唱片《BlindFaith》。我收藏了一盒1969年7月1日美国发行的磁带，这也是摇滚音乐史上存在不足半年的“Blind Faith”乐队发行的唯一一张专辑，唱片一经发行就登上了美国排行榜榜首。提到这张专辑，必须隆重介绍下唱片的封面故事。这张专辑封面选用了一位年轻的半裸体女孩的形象设计。专辑在英国发行后，裸女封面招致了强烈的抗议，人们说那个女孩的形象被表现的太色情了，美国的唱片经销商竟威胁要抵制这张唱片。Eric Clapton自传提到了这段，由于乐队马上开始大规模的美国巡演，所以再版的唱片只好换上了一张乐队在Eric Clapton“赫特伍德”家中客厅里拍摄的照片了事。我今天带来了两张黑胶唱片，手里拿的这张是乐队在Eric Clapton“赫特伍德”家中客厅里拍摄的照片做封面的唱片，是首版被抵制后再版。5.《Sea of joy》，由SteveWinwood创作的。5：23选择封面的女主角时，在年纪设定上并没有马虎。考量年龄再大点，看起来会像性感海报女郎。年纪再小一点，也会显得微不足道，因此要求从小女孩过渡到女人的中间阶段。摄影师Bob Seidemann认为唯有该时期能够散发全然耀眼的纯真光芒。摄制组在伦敦地铁面试到一名14岁少女，也与她的父母会谈过，不过拍摄效果还是太成熟了，因此改由她当时11岁的妹妹Mariora Goschen上阵。可爱的Mariora一开始要求以一匹小马作为报酬，最后还是收下比较实际的40英镑。这是一张艺术处理后的相片，画面上是一位长着红色卷发的青春期女孩，景取在她腰部以上，半裸的女孩手持一只非常现代主义的银色模型飞机，它来自Eric Clapton的朋友，宝石匠米科•米利甘的设计；女孩的身后是如伯克夏丘陵般的翠绿山野，再远处是湛蓝的天空和白色的云朵。Eric Clapton立刻就喜欢上了这个设计概念，因为他觉得它准确地捕捉到了“BlindFaith”乐队名字的含义。女孩代表的天真无邪与飞机象征的经历、科学、未来并存。当时Eric Clapton认为这张精彩的封套图片加上乐队的名字会破坏原有的效果，于是摄影师想出一个主意，把乐队的名字写在包装纸上，去掉包装后就会是这张原封不动的图片。6.《Can't find my way home》3：18专辑封面女主如今已过花甲之年，而这张历经半个多世纪的美国首版发行的唱片也因一度被禁而充满传奇色彩和收藏价值。我这张1969年美国首版的黑胶唱片收藏于宝岛台湾，收藏价2000台币，当时老板娘也不懂这张黑胶唱片封面的故事，她说因为进价蛮高的所以售价也相对高一些。这几年一直无人问津最后被我这位来自北京的行家收了，觉得特别有意义。这张唱片品相还是不错的，因为是二手的，所以早就拆开了没有了那张曾写着乐队名字的包装纸，遗憾的是，至今都从未见过那张带有乐队名字的包装纸。简单介绍下这张专辑的曲目1969 年 8 月,由Jimmy Miller担任制作人发行的专辑《Blind Faith》 将乐队成员的作品排列在一张六轨 LP 中。专辑中《Sea of joy》、《Can't find my way home》都是Steve Winwood创作的。《Can't find my way home》经常被1974年Eric Clapton 录制《海洋大道461》专辑时期的乐队女歌手伊冯娜翻唱，头几年热播的美剧《This is us》 也选用过这首歌。 7.《Can't find my way home》Eric Clapton伊冯娜5:181975年8月1日发行 EC Was HereEric Clapton创作了《Presence of the Lord》，关于这首歌还有个趣闻，就是Eric Clapton总打断Steve并指导他如何演绎这首歌，Steve Winwood烦了直接怼过去，你别再告诉我怎么唱，这首歌既然是你写的，你自己唱好了。8.《Presence of the Lord》 Eric Clapton 6:43很多乐迷朋友对这支成立半年不足就解散的Blind Faith乐队并没有特别关注，也是因为很多人觉得主唱兼键盘手Steve Winwood的唱法一点都不摇滚。但这完全没有影响乐队录制的唯一一张专辑在英国和美国名列前茅的成绩。因为它是在特别短的时间里制作的，因此被认为是一种奇异的经典。然而，事后看来，Blind Faith 专辑值得重新发现和重新评估。乐团中的几位天才人物保证了这张专辑的音乐水准，在 1960 年代即将结束的动荡时期，Blind Faith 的布鲁斯摇滚融合了 Cream 和 Traffic两个乐队的声音，成为英国摇滚音乐史上的一个重要里程碑。分享下这张专辑的乐评部分；专辑的开场白，冗长的《Hard to cry Today》由SteveWinwood精心设计，展示了乐队四位成员的音乐智慧。乐队翻唱了一首巴迪·霍利的《Well All Right》，探索了更奇妙的迷幻摇滚乐之旅，这绝对是1969年时代的一首重要歌曲。Eric Clapton的《Presence of the Lord》以缓慢燃烧的强烈蓝调结束了专辑的第一面，在海德公园演出时这首歌成为了现场拍摄的一大亮点。这张唱片准备仓促， B Side 只收录了两首歌曲：第一首SteveWinwood的《Sea of Joy 》在结构上有明显的交通乐队感觉；第二首是Ginger Baker长达15分钟的作品《Do What You Like》，充满了独奏和即兴的探索性。9.《Do What You Like》15：18Winwood回到"Traffic"乐队呆了5年，然后成功单飞。Clapton则为自己找到了定位，凭借无数上榜专辑和单曲作品主宰了整个70、80甚至90年代。尽管两位老友多年来始终保持着朋友关系，但直到2008年2月，"BlindFaith"成立近40年之后，Winwood和Clapton才再次聚首。2008年2月25日到28日，盲目信仰乐队解散近40年后，EricClapton与Steve Winwood重聚在美国麦迪逊广场花园，举办了三场可以说是场场爆满的演出，无数的乐迷都亲临现场来见证这个历史性的重聚。2008年2月在美国纽约麦迪逊广场花园举行的这唱聚会演出与1969年在英国伦敦海德公园的演出同样充满着新鲜感与活力，在音乐上非常具有挑战性。两位花甲之年的音乐家为他们的乐迷上演了一场伟大的演出，百分百呈现了他们的音乐天赋。有幸的是，这场伟大的重聚演出后来陆续有影、音资料面世。如果你是一位布鲁斯摇滚歌迷，肯定不会错过这场对布鲁斯摇滚乐的探索。节目最后播放一首我个人非常喜欢的2008年5月25日美国麦迪逊广场花园现场经典10.Double Trouble(Live from Madison Square Garden)当晚Clapton的状态是有多好啊，Amazing布鲁斯旋律真是汹涌澎湃，倾泻而出。每次听都觉悲从中来不可断绝。。。所有的杯桑，伴着老克的吉他倾泻而下……沧桑道尽…老克永远是我的精神安慰这首歌的最佳版本，后半段的solo简直要逆天这个版本完胜武道馆的两个版本还有crossroad的版本盲目信仰乐队解散50周年的2019年，Eric Clapton与Steve Winwood重聚在伦敦的海德公园。Ginger Baker没有去，不知道是不是因为身体原因。我的一位好朋友宋渐渐还买了一张票，她还说Ginger Baker发了FACEBOOK预祝这场演出顺利。如今，我们敬畏的一代鼓王Ginger Baker已辞世，为这个世界留下许多传世经典。节目最后，再次向大师致敬。感谢您的聆听，下期节目见。结束曲：Hadto Cry Today (Live from Madison Square Garden)7：47
Show 176 - Disraeli Gears - Cream Broadcast on Otago Access Radio www.oar.org.nz
Episode 35 of Tom Clark's 6M Podcast focuses on Disraeli Gears. Tom and cohost Phil Lindsey do a deep dive on Cream's legendary album, covering each track with song origins, as well as backstage stories. All this and much more! For more from Tom Clark, check out the links below: Tom Clark's 6M Podcast on Facebook Tom Clark's Main Event Tom Clark's 30 Minute Fun Show High Velocity Wrestling © Boink Studios 2021
Cream - Disraeli Gears, 1967 La storia dentro la copertina. Notizie e curiosità OFFICIAL EXHIMUSIC LINKS: https://www.exhimusic.com/magazine https://www.exhimusic.com/magazine/quelli-dei-dischi/ https://www.facebook.com/quellideidischi https://www.facebook.com/Exhimusic/ Twitter: https://twitter.com/exhimusic EXHIMUSIC on Spotify: https://spoti.fi/2XwsuH9 exhimusic@gmail.com All Rights Reserved. Any unauthorized reproduction/duplication is expressly forbidden without prior written consent and is punishable by law. EXHIMUSIC is a registered trade mark.
La storia, traccia per traccia, del secondo disco in studio dei Cream.
"Clapton is God" diceva un celebre murales londinese. Ma non solo Slowhand era Dio, lo erano anche Jack Bruce al basso e Ginger Baker alla batteria. I migliori musicisti del rispettivo strumento nella scena londinese. L'unione dei tre diede vita al primo grandissimo power trio della storia durato, purtroppo, troppo poco. Disraeli Gears, il loro secondo album in studio, è il loro capolavoro. Un disco che riesce ad unire perfettamente il blues del delta con l'avvento della psichedelia tipica di fine anni 70.
"Clapton is God" diceva un celebre murales londinese. Ma non solo Slowhand era Dio, lo erano anche Jack Bruce al basso e Ginger Baker alla batteria. I migliori musicisti del rispettivo strumento nella scena londinese. L'unione dei tre diede vita al primo grandissimo power trio della storia durato, purtroppo, troppo poco. Disraeli Gears, il loro secondo album in studio, è il loro capolavoro. Un disco che riesce ad unire perfettamente il blues del delta con l'avvento della psichedelia tipica di fine anni 70.
Wanna hear the album? Listen to Disraeli Gears on Spotify!Check out our playlist featuring albums on The Countdown!Follow Big Daddy on twitter @BigDaddyGraham and on Facebook here.Big Daddy Graham's Countdown is produced by Last Out Media.
Episode 33 is jam packed with amazing, talented players. The guys will discuss Led Zeppelin's 1975 release Physical Graffiti AND Cream's 1967 effort Disraeli Gears. Page, Plant, Jones, Bonham, Baker, Bruce and Clapton...Nuff said.
ALBUM ADDICTS #82- The Album Addicts break down Cream's 1967 album Disraeli Gears! Rock on! Contact Aaron and Rockin' Mike at ridiculousrockrecords@gmail.com , or also on the Ridiculous Rock Record Reviews Facebook page. https://www.facebook.com/R4podcast Twitter: @R4podcastAaron Instagram: https://www.instagram.com/r4podcaster/
A Cream, el gran supergrupo de los sesentas integrado por Eric Clapton, Ginger Baker y Jack Bruce, dedicamos esta extensa emisión dentro del especial sobre esta década prodigiosa en Radio Free Rock. Específicamente nos enfocamos en desvelar los entresijos del segundo álbum de la banda británica, Disraeli Gears, seguido de un bonus track antológico que no se pueden perder. Se podrá escuchar: Strange Brew Sunshine Of Your Love World Of Pain Dance the Night Away Blue Condition Tales Of Brave Ulysses SWLABR We're Going Wrong Outside Woman Blues Take It Back Mother's Lament (+ Bonus track: Royal Albert Hall London May 2-3-5-6, 2005)
This week we discuss the legendary Cream. These guys were intense. Not only are they widely regarded as the first supergroup ever (made up of Jack Bruce, Eric Clapton, and Ginger Baker), they also set the standard for giant, arena rock bands. However, not everything of theirs holds up that well, meaning Alex and Mike are certainly going to get some death threats from this episode. At the very least, listen for all the insane Ginger Baker stories. They will not disappoint you.Closing track: “Deserted Cities of the Heart” from Wheels of Fire (1968)Check out our episode playlists on Spotify! https://open.spotify.com/user/motherpuncherincMike’s Picks:Wheels of Fire (1968) — Best Album, Personal FavoriteGoodbye (1969) — Worst AlbumFresh Cream (1966) — Least FavoriteAlex’s Picks:Wheels of Fire (1968) — Best Album, Personal FavoriteFresh Cream (1966) — Worst AlbumAlbums we discussed this episode…Fresh Cream (1966)Disraeli Gears (1967)Wheels of Fire (1968)Goodbye (1969)Follow Mike on Instagram @popejesseventura for show updates and @pandermonkey for original music.Follow Alex on Instagram @motherpuncher
https://www.virginradio.it/audio/long-playing-stories/1262031/cream-disraeli-gears.htmlhttps://www.virginradio.it/audio/long-playing-stories/1262031/cream-disraeli-gears.htmlThu, 14 May 2020 09:31:03 +0200Virgin RadioVirgin Radiono0:04:19
The 15th episode! Here I will discussing Cream - Disraeli Gears Please consider visiting the show Web site at www.churchofrockshow.com for bonus material on each episode. To interact with others on each episode visit our Facebook page @churchofrockshow where each episode will have a dedicated post where we can discuss the album and share our personal stories about the music. The Instagram page is @churchofrockshow here I will be sharing what I am currently listening to and posting cool pictures I come across.
Chuck Vosganian puts his heart and soul into his Rochmon Record Club presentations. As Chuck says, join them to listen to the album together for the first time, again. In this episode, we discuss the powerhouse that is Cream, and their amazing album "Disraeli Gears." See Chuck and experience the Rochmon Record Club yourself at The Linda on Saturday, February 15th.
A Ginger Baker Live Stream Music History Podcast and Cream Disraeli Gear Album Review. We develop 10 questions we would want to ask Ginger Baker, drummer for Cream, Graham Bond Oranization, Blues Incorporated, John Birch Octect, Blind Faith, Ginger Baker's Air Force, and more! Two comedians use the socratic method and improv to develop questions for Ginger Baker while live streaming on December 21st, 2019. Stephen Alloy, a lawyer by profession, and my self, a retired veteran, met while learning improv and now perform improv in the Omaha area. We both love Cream, and wanted to learn more about Ginger Baker. We listened to interviews, podcasts & documentaries and read anything we could find about Ginger Baker. You can view a video of this podcast at: https://youtu.be/K3mqIz35u5ISupport the show (https://www.youtube.com/channel/UCqogkrQjtGfMCP8NrPiswWw?sub_confirmation=1)
Cream was the original rock supergroup. Drummer Ginger Baker, Bassist Jack Bruce, and guitarist Eric Clapton were already recognized for their individual talent, and the name of the group would reflect their status as “the cream of the crop.” DIsraeli Gears is their second studio album, and was the album that would propel them to fame in the United States.Cream was considered not only a supergroup, but was a proto-progressive band, a jam band, and perhaps an early heavy metal band due to their penchant for recording at high volume.The group was formed by Ginger Baker, and Eric Clapton wanted Jack Bruce to join. Surprisingly, Bruce was invited to join. Baker had fought with Bruce and thrown him out of an earlier band, but they decided to try to work together. They made it as a group for four albums before egos and disagreements would drive them apart.We hope you enjoy this exploration of the psychedelic rock of Cream. Sunshine of My LoveThis song was written at sunrise, and has one of the most famous starting riffs in the rock genre. This was the second single of the album, and is dedicated to Jimi Hendrix.Strange BrewThis was the first single from the album, and hearkens back to the blues style that Clapton played in The Yardbirds.SWLABRThe song is an acronym: She Was Like a Bearded Rainbow," and is a psychedelic song. It was the B-side for "Sunshine of My Love."Tales of Brave UlyssesAnother psychedelic track, this was co-written by Eric Clapton and Martin Sharp, who drew the cover art for the album. It hearkens to the mythology of Odysseus, also known as Ulysses ENTERTAINMENT TRACK:“Magical Mystery Tour” by The BeatlesThe Beatles produced a movie that accompanied the album of the same name, and it was a hit on the charts in 1967. STAFF PICKS:“Soul Man” by Sam and DaveBruce's presents a tune from “The Sultans of Sweat.” Sam and Dave met in Miami when both were performing on the gospel circuit. This song was written by Isaac Hayes and David Porter. This is their biggest hit, their first gold record, and led to the name of this genre, “Soul Music.”“Georgia Pines” by The CandymenRob brings us a song by the group that began as the back-up band for Roy Orbison. They started out in Dothan, Alabama as “The Webs,” but changed their name when they landed the gig with Orbison. After their breakup, their front man would join a little session band in Atlanta known as “the Atlanta Rhythm Section.”“How Can I Be Sure” by The Young RascalsBrian's staff pick is the second hit by the Yong Rascals, following up for "Groovin'". Many would cover this song, including David Cassidy and Dusty Springfield in the 70's.“Let It Out” by The HombresWayne's staff pick was the #12 hit in November 1967. With its distinctive spoken lyrics, this song by the one-hit wonder, “The Hombres” would be covered by several bands as well. INSTRUMENTAL TRACK:"Maroc 7" by The ShadowsThis surf-style instrumental takes us out for the week.
A new series, possibly a new format. We tried to get a guest, we invited Matthew David Scott on. As it happened, half of Newport showed up so we has Scotty, Lottie, Mike, The 70s and Mark all in the shop. Total madness. We sort of reviewed albums by Neil Young, Happy Mondays, Amy O, Talking Back Sunday, Swans, Scott Walker, Rick Astley and Super Furry Animals in amongst the carnage.
A new series, possibly a new format. We tried to get a guest, we invited Matthew David Scott on. As it happened, half of Newport showed up so we has Scotty, Lottie, Mike, The 70s and Mark all in the shop. Total madness. We sort of reviewed albums by Neil Young, Happy Mondays, Amy O, Talking Back Sunday, Swans, Scott Walker, Rick Astley and Super Furry Animals in amongst the carnage.
Welcome to another episode of the Modern Moron… flying solo this week so I’m gonna cram a bunch of stuff in and and NO POLITICS, because I just can’t. It’s just too much… I hope they all impeach each other and we all have to come up with someone new. That’s it for politics. Item #1 The Great Pacific Garbage Patch - They are finally picking up some trash in the Pacific Garbage patch! They being a non profit called The Ocean Cleanup dot com founded by Dutch inventor and entrepreneur Boyan Slat… I guarantee I pronounced that incorrectly. This kid is only 25 years old and he and they are doing it! Item #2 - My Favorite Moron Award - Taking a break from Rudy Giuliani, this week’s award goes to London climate change protesters called “Extinction Rebellion”. These Moron’s for Mother Nature had a fire truck with “fake blood” and were going to spray the side of the Government Treasury building. In one story the red stuff was referred to as paint. Another called if red food dye and another called it organic liquid beetroot. Was it paint? Was it food coloring? Either way isn’t that pollution or at least wasteful? Nice work Extinction Idiots. Item #3 Sleep Apnea - I have been diagnosed with mild to moderate sleep apnea which is like a version of snoring but you stop breathing which is generally not a good thing. So I have been given some options and I’m currently trying out a really sexy contraption called a CPAP device. I put it on, covering my nose and I look like a jet fighter pilot about to fly a tiny model airplane. Item #4 Rudy I Can't Quit You - I thought I could go an episode without a Rudy Giuliani story… but, I can’t. Someone in New York, let’s say a genius, posted an ad on a subway with the main caption, “ "Need A Lawyer? Call Crazy Rudy". The subway ad includes Rudy’s selling points such as “Back Channel Deals, Cable News Appearances, Has NO Shame and Will Work for Free!” Item #5 Judy Garland - The feminine side of me aka my gay alter ego simply must talk about the new Judy Garland film “Judy”. Looking at the trailer it took me more than a second to realize it was Renee Zelwegger playing Judy Garland and the way she physically captures Judy Garland’s frailness in some of her postures and strength in her singing performances is pretty cool. Not knowing all that much about the tragic details of her life I think I’ll be able to suspend my disbelief but if you know Judy from the top of her brunette head to the tips of her ruby slippers you might be a little more critical. Item #6 RIP Ginger Baker - Finally, last weekend the world of rock and roll lost one of it’s greatest drummers of all time and unless you’re into music and music history you probably will not recognize his name. Ginger Baker passed away at the age of 80. He was originally a jazz drummer who was also interested in African beats and rhythms. When he put the two together he became one of the most sought after recording session drummers in England. There were two other musicians of the same proficiency at their respective instruments and their names were Jack Bruce who played bass and Eric Clapton on guitar. I get it if you don’t recognize Jack Bruce as well but if you don’t know Eric Clapton then you’re not allowed to listen any further or any more to this podcast. These three were considered the cream of the crop in the London music scene in the 60’s and when they formed a band they called themselves Cream. They put out only four albums and it was their second album “Disraeli Gears” that put them at their peak of mixing blues with rock and psychedelia. A writer for the BBC said the album was, “a perfect encapsulation of the point where the blues got psychedelic and in turn got heavy.” TheModernMoron.com Sources: Ocean cleanup device successfully collects plastic for first time - The Guardian, a british publication that leans pretty hard to the left. How the oceans can clean themselves: Boyan Slat at TEDx - YouTube Climate change activists hose 'fake blood' at UK Treasury from fire engine - Reuters Do Sleep Trackers Really Work? - Hopkinsmedicine.org Crazyrudylaw.com/ Judy Garland Wikipedia Page Sunshine Of Your Love - Cream Ginger Baker: 10 Tracks That Show His Drumming Genius - Rolling Stone Beware of Mr. Baker Trailer Report: 250 Million Americans Still Need Guests On Their Podcasts This Week - The Onion
The Worlds Best Rock Albums We regularly feature every album that you might consider for your collection. From Black Sabbath to Metallica, and from Jethro Tull to Meatloaf, it's all here. The elusive rock album, the popular rock album, and the ones that make it because they just should. If you have requests, please send a message. https://www.youtube.com/channel/UCymI0DF_RA6nAd58dw6XeDg #slowhand #clapton #cream #thebeatles #beatles #ringo #sgtpeppers #acdc #backinblack #hellsbells #bonscott #eagles #hotelcalifornia #zztop #eliminator #meatloaf #batoutofhell #pinkfloyd #thewall #gilmour #waters #nirvana #rock #rockalbums #americanrock #albumrock #bestalbums #britrock #heavymetal #coolalbums #bestalbums #hottestalbums #hotalbums #bestrock #nevermind #defleppard #scorpions #acdc #backinblack #traditionalmetal #metal #Grunge #blacksabbath #rockguitar #fender #strat #ibanez #telecaster #usarock #pinkfloyd #classicrock #classicmetal #dio #gibsonguitars #lespaul --- Support this podcast: https://anchor.fm/steviej/support
Eric and Sam listen through Cream's 1967 album, Disraeli Gears. Welcome to Is It Classic? Does It Rock? the podcast where we look at a band or artist and go through their discography album by album, track by track. Our goal is to determine if each album is a classic and if it rocks. You know, like the title says. Join Eric and Sam as they share their thoughts and read listener’s opinions throughout this journey!
Cream laid the foundation of the late 60’s fuzzed blues based rock along side Jimi Hendrix and Deep Purple. They popularized the use of the wah-wah pedal and produced a heavy yet technical style that would be carried on by many British bands.
Turned out nice; Sex and the hedge; Anger management; The Wibbles; Paint a donkey; Disraeli Gears; A crisis will occur; Use or Ornament?; An interview with Carolyn Strauss; Music from the Mona Lisa Twins
My passions English teaching, music and movie reviews and sport
More thoughts and comments about the movies: Ladybird, Breathe and Get Out + some musical thoughts on 1967 Arethra Franklin and Free's debut Tons of Sobs, Disraeli Gears + more March 21 to 27, 2018
Hoy vamos a seguir desgranando lo que fueron los años sesenta para el Rock y R&B. Fueron muchos los grupos que alumbraron el firmamento de la música en esos años. Ya nos hemos referido a alguno de ellos y hoy nos vamos a detener en uno de los más importantes. Estamos hablando de… CREAM Cream fue un super trio de rock fundado en Londres, en 1966, por el bajista y vocalista Jack Bruce, el batería Ginger Baker y el guitarrista y vocalista Eric Clapton. Su sonido se caracterizaba por ser un híbrido de blues, rock psicodélico y pop. Cream es a menudo considerado como el primer supergrupo de éxito y que, a pesar de haber estado en actividad poco más de dos años, vendió más de quince millones de copias en todo el mundo. La banda tuvo un impacto significativo en la música popular de la época. Después de grabar cuatro álbumes de larga duración: Fresh Cream, (al que pertenece “I feel free”, que hemos escuchado anteriormente), Disraeli Gears, Wheels of Fire y Goodbye, el grupo se separó a finales de 1968 debido a la mala relación entre Baker y Bruce. No obstante, la banda se reunió posteriormente en un par de ocasiones: una en 1993 con motivo de su ingreso en el Rock and Roll Hall of Fame, y otra en 2005, para unas actuaciones en el Royal Albert Hall y el Madison Square Garden. Hacia julio de 1966, Eric Clapton era reconocido como uno de los mejores guitarristas de blues en el Reino Unido debido a su trayectoria, sin embargo, este abandonó el grupo en el que militaba en ese momento, o sea, el de John Mayall, para crear una nueva banda. El guitarrista se reunió con Ginger Baker, batería de The Graham Bond, y conversaron sobre la posibilidad de crear un nuevo proyecto. Clapton comentó más tarde: «Siempre me había gustado Ginger [Baker]. Vino una vez a verme tocar con John Mayall y después del concierto me trajo de vuelta en su coche a Londres donde me comentó que quería formar un nuevo grupo, algo en lo que yo también había pensado». Clapton aceptó formar un nuevo proyecto con la condición de que Baker contratara a Jack Bruce, su compañero en The Graham Bond, como bajista. El problema era que Baker y Bruce habían tenido fuertes discusiones cuando eran parte de la banda de Bond, lo que llevó al batería a despedirlo. Cuando el bajista cuestionó su derecho a tomar tal decisión, Baker le amenazó con un cuchillo. Sin embargo, por el futuro del nuevo grupo, ambos dejaron de lado sus diferencias. El trío eligió como nombre Cream debido a que los tres se consideraban la «crème de la crème» entre los músicos de jazz y blues de la escena musical británica. Parece que no andaban mal de “ego”. Cream hizo su debut oficial en el Sixth Annual Windsor Jazz & Blues Festival el 3 de julio de 1966. Entre julio y octubre, Cream grabó su álbum debut, Fresh Cream, que salió a la venta en diciembre. Escuchamos ahora, de este LP de lanzamiento, una última canción: SWEET WINE. Cream realizó su primera visita a los Estados Unidos en marzo de 1967 para tocar nueve noches en el RKO de Nueva York. Entre el 11 y el 15 de mayo, el trío regresó a Nueva York para entrar en los estudios Atlantic y grabar su segundo álbum de estudio, Disraeli Gears, del que nos ocuparemos ahora. Salió a la venta en noviembre y llegó a colocarse entre los cinco álbumes más vendidos tanto en Estados Unidos como en Reino Unido. El productor de este trabajo era Felix Pappalardi, y fue él quien convenció a Clapton para que también grabara temas como vocalista principal, algo que no fue, en absoluto, del agrado de Bruce. Disraeli Gears fue el primer álbum de Cream formado principalmente por canciones compuestas por el grupo. De este LP se publicó un sencillo, «Sunshine of Your Love» Pese a que el álbum, me refiero a Disraeli Gears, está considerado como uno de los mejores trabajos de la década de 1960, nunca tuvo una gran representación en sus conciertos. A pesar de que el trío interpretó con asiduidad los temas como «Sunshine of Your Love» y otros, varias canciones de Disraeli Gears fueron excluidas de su set list a mediados de 1967 en favor de largas improvisaciones, algo por otro lado muy al gusto de la época. En agosto de este año 67, la banda realizó sus primeras actuaciones ya como cabeza de cartel en Estados Unidos en la sala Fillmore West de San Francisco. Seguramente allí podrían escuchar una versión en directo de la magnífica Take It Back Siguiendo con el orden cronológico de sus grabaciones, nos encontramos con su tercer LP Wheels of Fire Entre julio de 1967 y junio 1968, Cream grabó varias canciones en los estudios IBC (Londres) y Atlantic que, junto a algunos temas grabados en directo en el Filmore West y en la sala Winterland Ballroom, formaron parte de su tercer trabajo, Wheels of Fire. El álbum se destaca por el uso de diversos instrumentos orquestales grabados por el productor Felix Papppalardi y el uso y abuso del pedal Wah-Wah. «White Room» fue su mayor éxito. Tras completar Wheels of Fire a mediados de 1968, los miembros de la banda decidieron que ya habían tenido suficiente y querían seguir sus carreras por separado. Baker comentó en una entrevista para la revista Music Mart en 2006: «Llegó un momento en que Eric [Clapton] me dijo: 'Ya he tenido bastante' y le dije que yo también. El último año de Cream fue agónico. Tuve problemas de salud y todavía hoy tengo problemas de audición debido al alto volumen con el que tocábamos. Originalmente, la cosa no empezó así; cuando fundamos la banda fue genial y realmente una maravillosa experiencia musical». Lo cierto es que las tensiones entre el batería y Bruce volvieron a aparecer, lo que obligó a Clapton a actuar de mediador. El guitarrista además había leído una mordaz crítica realizada por Jon Landau para la revista Rolling Stone, publicación que, por otra lado, admiraba, en la que le calificaba como «maestro del cliché del blues». A raíz de este artículo, Clapton quiso poner fin a su etapa con Cream y tomar un rumbo musical diferente. Todavia de este Wheels of Fire, escuchamos Crossroads. Y aunque solo sea por escuchar un gran solo de batería, tenemos que detenernos en TOAD, otra pieza de este tercer disco de CREAM Una vez anunciada su separación, el grupo volvió a reunirse para la realización de su cuarto y último álbum. El disco, titulado Goodbye, fue grabado en octubre de 1968 y salió a la venta en febrero del año siguiente, cuando la banda ya se había separado oficialmente. Goodbye contiene seis canciones: tres en directo grabadas el 19 de octubre en un concierto en el recinto The Forum (Los Angeles) y tres grabaciones de estudio nuevas. Entre los temas incluidos destaca «Badge», compuesta por Clapton y George Harrison; este último además, participó como guitarrista rítmico acreditado como L'Angelo Misterioso. El álbum fue su único número uno en el UK Albums Chart y llegó a la segunda posición del Billboard 200. La gira de despedida de Cream consistió en veintidós conciertos en diecinueve recintos en los Estados Unidos, entre el 4 de octubre y el 4 de noviembre de 1968 y dos actuaciones en el Royal Albert Hall de Londres, el 25 y 26 de noviembre. Las dos actuaciones en el Royal Albert Hall fueron filmadas para un especial de la BBC y editadas posteriormente en vídeo bajo el nombre Farewell Concert. Ambos conciertos agotaron las entradas y atrajeron más atención que cualquier otro de Cream. Sin embargo, Baker no tuvo una opinión positiva: «No fueron buenas actuaciones... Cream era mejor que eso... Sabíamos que se había acabado. Simplemente estábamos acabando con ello, pasando el mal trago». El batería añadió también que «la banda empeoraba a cada minuto». Los teloneros de la gira fueron Taste (con un joven Rory Gallagher), la recién formada Yes y en tres actuaciones, Deep Purple. Por si no tenemos ocasión, quiero que oigáis a Taste, un grupo menos glamuroso que el resto pero que ponía los pelos como escarpias. Bueno, dejamos atrás este pequeño paréntesis pero me daba pena nombrar a Taste y Rory Gallagher y no escúcharles. Seguimos con nuestros inivitados de hoy. Tras su disolución, Cream consiguió una nominación al Grammy en la categoría de mejor nuevo artista, aunque el ganador fue José Feliciano. Bueno, cosas de la industria. Siguiendo con su LP Goodbye, los oímos ahora en su “I’m so glad” Poco después de la disolución de Cream, Clapton deambuló por diversos grupos, a veces como líder y otras no hasta que en 1970, comenzó su exitosa carrera en solitario. Tras formar parte de Blind Faith, Baker fundó el proyecto Ginger Baker's Air Force junto a Winwood, Grech, Graham Bond y Denny Laine, guitarrista de Moody Blues. Por su parte, Bruce comenzó su trayectoria solista con el lanzamiento del álbum Songs for a Tailor en 1969. Nos despedimos de Cream y del programa de hoy con " Sitting on Top of the World”
Hoy vamos a seguir desgranando lo que fueron los años sesenta para el Rock y R&B. Fueron muchos los grupos que alumbraron el firmamento de la música en esos años. Ya nos hemos referido a alguno de ellos y hoy nos vamos a detener en uno de los más importantes. Estamos hablando de… CREAM Cream fue un super trio de rock fundado en Londres, en 1966, por el bajista y vocalista Jack Bruce, el batería Ginger Baker y el guitarrista y vocalista Eric Clapton. Su sonido se caracterizaba por ser un híbrido de blues, rock psicodélico y pop. Cream es a menudo considerado como el primer supergrupo de éxito y que, a pesar de haber estado en actividad poco más de dos años, vendió más de quince millones de copias en todo el mundo. La banda tuvo un impacto significativo en la música popular de la época. Después de grabar cuatro álbumes de larga duración: Fresh Cream, (al que pertenece “I feel free”, que hemos escuchado anteriormente), Disraeli Gears, Wheels of Fire y Goodbye, el grupo se separó a finales de 1968 debido a la mala relación entre Baker y Bruce. No obstante, la banda se reunió posteriormente en un par de ocasiones: una en 1993 con motivo de su ingreso en el Rock and Roll Hall of Fame, y otra en 2005, para unas actuaciones en el Royal Albert Hall y el Madison Square Garden. Hacia julio de 1966, Eric Clapton era reconocido como uno de los mejores guitarristas de blues en el Reino Unido debido a su trayectoria, sin embargo, este abandonó el grupo en el que militaba en ese momento, o sea, el de John Mayall, para crear una nueva banda. El guitarrista se reunió con Ginger Baker, batería de The Graham Bond, y conversaron sobre la posibilidad de crear un nuevo proyecto. Clapton comentó más tarde: «Siempre me había gustado Ginger [Baker]. Vino una vez a verme tocar con John Mayall y después del concierto me trajo de vuelta en su coche a Londres donde me comentó que quería formar un nuevo grupo, algo en lo que yo también había pensado». Clapton aceptó formar un nuevo proyecto con la condición de que Baker contratara a Jack Bruce, su compañero en The Graham Bond, como bajista. El problema era que Baker y Bruce habían tenido fuertes discusiones cuando eran parte de la banda de Bond, lo que llevó al batería a despedirlo. Cuando el bajista cuestionó su derecho a tomar tal decisión, Baker le amenazó con un cuchillo. Sin embargo, por el futuro del nuevo grupo, ambos dejaron de lado sus diferencias. El trío eligió como nombre Cream debido a que los tres se consideraban la «crème de la crème» entre los músicos de jazz y blues de la escena musical británica. Parece que no andaban mal de “ego”. Cream hizo su debut oficial en el Sixth Annual Windsor Jazz & Blues Festival el 3 de julio de 1966. Entre julio y octubre, Cream grabó su álbum debut, Fresh Cream, que salió a la venta en diciembre. Escuchamos ahora, de este LP de lanzamiento, una última canción: SWEET WINE. Cream realizó su primera visita a los Estados Unidos en marzo de 1967 para tocar nueve noches en el RKO de Nueva York. Entre el 11 y el 15 de mayo, el trío regresó a Nueva York para entrar en los estudios Atlantic y grabar su segundo álbum de estudio, Disraeli Gears, del que nos ocuparemos ahora. Salió a la venta en noviembre y llegó a colocarse entre los cinco álbumes más vendidos tanto en Estados Unidos como en Reino Unido. El productor de este trabajo era Felix Pappalardi, y fue él quien convenció a Clapton para que también grabara temas como vocalista principal, algo que no fue, en absoluto, del agrado de Bruce. Disraeli Gears fue el primer álbum de Cream formado principalmente por canciones compuestas por el grupo. De este LP se publicó un sencillo, «Sunshine of Your Love» Pese a que el álbum, me refiero a Disraeli Gears, está considerado como uno de los mejores trabajos de la década de 1960, nunca tuvo una gran representación en sus conciertos. A pesar de que el trío interpretó con asiduidad los temas como «Sunshine of Your Love» y otros, varias canciones de Disraeli Gears fueron excluidas de su set list a mediados de 1967 en favor de largas improvisaciones, algo por otro lado muy al gusto de la época. En agosto de este año 67, la banda realizó sus primeras actuaciones ya como cabeza de cartel en Estados Unidos en la sala Fillmore West de San Francisco. Seguramente allí podrían escuchar una versión en directo de la magnífica Take It Back Siguiendo con el orden cronológico de sus grabaciones, nos encontramos con su tercer LP Wheels of Fire Entre julio de 1967 y junio 1968, Cream grabó varias canciones en los estudios IBC (Londres) y Atlantic que, junto a algunos temas grabados en directo en el Filmore West y en la sala Winterland Ballroom, formaron parte de su tercer trabajo, Wheels of Fire. El álbum se destaca por el uso de diversos instrumentos orquestales grabados por el productor Felix Papppalardi y el uso y abuso del pedal Wah-Wah. «White Room» fue su mayor éxito. Tras completar Wheels of Fire a mediados de 1968, los miembros de la banda decidieron que ya habían tenido suficiente y querían seguir sus carreras por separado. Baker comentó en una entrevista para la revista Music Mart en 2006: «Llegó un momento en que Eric [Clapton] me dijo: 'Ya he tenido bastante' y le dije que yo también. El último año de Cream fue agónico. Tuve problemas de salud y todavía hoy tengo problemas de audición debido al alto volumen con el que tocábamos. Originalmente, la cosa no empezó así; cuando fundamos la banda fue genial y realmente una maravillosa experiencia musical». Lo cierto es que las tensiones entre el batería y Bruce volvieron a aparecer, lo que obligó a Clapton a actuar de mediador. El guitarrista además había leído una mordaz crítica realizada por Jon Landau para la revista Rolling Stone, publicación que, por otra lado, admiraba, en la que le calificaba como «maestro del cliché del blues». A raíz de este artículo, Clapton quiso poner fin a su etapa con Cream y tomar un rumbo musical diferente. Todavia de este Wheels of Fire, escuchamos Crossroads. Y aunque solo sea por escuchar un gran solo de batería, tenemos que detenernos en TOAD, otra pieza de este tercer disco de CREAM Una vez anunciada su separación, el grupo volvió a reunirse para la realización de su cuarto y último álbum. El disco, titulado Goodbye, fue grabado en octubre de 1968 y salió a la venta en febrero del año siguiente, cuando la banda ya se había separado oficialmente. Goodbye contiene seis canciones: tres en directo grabadas el 19 de octubre en un concierto en el recinto The Forum (Los Angeles) y tres grabaciones de estudio nuevas. Entre los temas incluidos destaca «Badge», compuesta por Clapton y George Harrison; este último además, participó como guitarrista rítmico acreditado como L'Angelo Misterioso. El álbum fue su único número uno en el UK Albums Chart y llegó a la segunda posición del Billboard 200. La gira de despedida de Cream consistió en veintidós conciertos en diecinueve recintos en los Estados Unidos, entre el 4 de octubre y el 4 de noviembre de 1968 y dos actuaciones en el Royal Albert Hall de Londres, el 25 y 26 de noviembre. Las dos actuaciones en el Royal Albert Hall fueron filmadas para un especial de la BBC y editadas posteriormente en vídeo bajo el nombre Farewell Concert. Ambos conciertos agotaron las entradas y atrajeron más atención que cualquier otro de Cream. Sin embargo, Baker no tuvo una opinión positiva: «No fueron buenas actuaciones... Cream era mejor que eso... Sabíamos que se había acabado. Simplemente estábamos acabando con ello, pasando el mal trago». El batería añadió también que «la banda empeoraba a cada minuto». Los teloneros de la gira fueron Taste (con un joven Rory Gallagher), la recién formada Yes y en tres actuaciones, Deep Purple. Por si no tenemos ocasión, quiero que oigáis a Taste, un grupo menos glamuroso que el resto pero que ponía los pelos como escarpias. Bueno, dejamos atrás este pequeño paréntesis pero me daba pena nombrar a Taste y Rory Gallagher y no escúcharles. Seguimos con nuestros inivitados de hoy. Tras su disolución, Cream consiguió una nominación al Grammy en la categoría de mejor nuevo artista, aunque el ganador fue José Feliciano. Bueno, cosas de la industria. Siguiendo con su LP Goodbye, los oímos ahora en su “I’m so glad” Poco después de la disolución de Cream, Clapton deambuló por diversos grupos, a veces como líder y otras no hasta que en 1970, comenzó su exitosa carrera en solitario. Tras formar parte de Blind Faith, Baker fundó el proyecto Ginger Baker's Air Force junto a Winwood, Grech, Graham Bond y Denny Laine, guitarrista de Moody Blues. Por su parte, Bruce comenzó su trayectoria solista con el lanzamiento del álbum Songs for a Tailor en 1969. Nos despedimos de Cream y del programa de hoy con " Sitting on Top of the World”
Pete talks to Channel swimmer Chris Minall about dreaming of swimming the channel while relaxing by the pool in Italy, Blue Peter, boat pilots playing ‘catch me’, star spangled trunks, and the legend of Disraeli Gears , guilty pleasures and slowed down Beatle’s tracks, during one of the longest games of Pop Cricket so far.
November 1967: Love, Cream, Moody Blues, Buffalo Springfield, Jefferson Airplane, Beatles, Amboy Dukes, 13th Floor Elevators
#COMINGINYOUREARHOLES This time round on the JSRC the lads chat about Cream's 1967 Disraeli Gears album & Pixies Trompe Le Monde from 1991 along as always with any other business and Andrew's spoiler alert
#COMINGINYOUREARHOLES This time round on the JSRC the lads chat about Cream's 1967 Disraeli Gears album & Pixies Trompe Le Monde from 1991 along as always with any other business and Andrew's spoiler alert
Necessita consultazione universale: quale è il migliore album del 1967? Escono: Jimi Hendrix "Are You Experienced" 12 maggio, The doors "The Doors" 4 gennaio, The Beatles "Sgt Pepper" 1 gennaio, e a novembre Cream, "Disraeli Gears".
This Week: Spirit, Iron Butterfly,The Guess Who,David Bowie,Zombies, Emerson Lake and Palmer... . Esoteric Poets Of The Mind Kyros, The Lyrical Mentor brings you rock religion on the radio with musical revelation from the 60's and 70's. On the icon pedestals will be electric guitar demigods from the Sunday school of Page, Hendrix and Clapton..And from the pulpit the enigmas of musicdom will be vocally belting out the sermons with fanaticism. Those with ears to hear will be mesmerized by the rock prophet voices of Leonard Cohen, Jim Morrison, John Lennon, Robert Plant.......The congregation will be indoctrinated by Blind Faith, Doors of Perception, and Disraeli Gears of performance. This show is like the ten commandments in stone of the rock and roll bible...
This Week: Spirit, Iron Butterfly,The Guess Who,David Bowie,Zombies, Emerson Lake and Palmer... . Esoteric Poets Of The Mind Kyros, The Lyrical Mentor brings you rock religion on the radio with musical revelation from the 60's and 70's. On the icon pedestals will be electric guitar demigods from the Sunday school of Page, Hendrix and Clapton..And from the pulpit the enigmas of musicdom will be vocally belting out the sermons with fanaticism. Those with ears to hear will be mesmerized by the rock prophet voices of Leonard Cohen, Jim Morrison, John Lennon, Robert Plant.......The congregation will be indoctrinated by Blind Faith, Doors of Perception, and Disraeli Gears of performance. This show is like the ten commandments in stone of the rock and roll bible...
This Week: David Bowie, Queen, Jefferson Airplane, Jimi Hendrix, The Beatles, The Doors, The Rolling Stones. Esoteric Poets Of The Mind Kyros, The Lyrical Mentor brings you rock religion on the radio with musical revelation from the 60's and 70's. On the icon pedestals will be electric guitar demigods from the Sunday school of Page, Hendrix and Clapton..And from the pulpit the enigmas of musicdom will be vocally belting out the sermons with fanaticism. Those with ears to hear will be mesmerized by the rock prophet voices of Leonard Cohen, Jim Morrison, John Lennon, Robert Plant.......The congregation will be indoctrinated by Blind Faith, Doors of Perception, and Disraeli Gears of performance. This show is like the ten commandments in stone of the rock and roll bible...
This Week: David Bowie, Queen, Jefferson Airplane, Jimi Hendrix, The Beatles, The Doors, The Rolling Stones. Esoteric Poets Of The Mind Kyros, The Lyrical Mentor brings you rock religion on the radio with musical revelation from the 60's and 70's. On the icon pedestals will be electric guitar demigods from the Sunday school of Page, Hendrix and Clapton..And from the pulpit the enigmas of musicdom will be vocally belting out the sermons with fanaticism. Those with ears to hear will be mesmerized by the rock prophet voices of Leonard Cohen, Jim Morrison, John Lennon, Robert Plant.......The congregation will be indoctrinated by Blind Faith, Doors of Perception, and Disraeli Gears of performance. This show is like the ten commandments in stone of the rock and roll bible...
This Week: Led Zeppelin, Jimi Hendrix, Janis Joplin, The Doors. Esoteric Poets Of The Mind Kyros, The Lyrical Mentor brings you rock religion on the radio with musical revelation from the 60's and 70's. On the icon pedestals will be electric guitar demigods from the Sunday school of Page, Hendrix and Clapton..And from the pulpit the enigmas of musicdom will be vocally belting out the sermons with fanaticism. Those with ears to hear will be mesmerized by the rock prophet voices of Leonard Cohen, Jim Morrison, John Lennon, Robert Plant.......The congregation will be indoctrinated by Blind Faith, Doors of Perception, and Disraeli Gears of performance. This show is like the ten commandments in stone of the rock and roll bible...
This Week: Led Zeppelin, Jimi Hendrix, Janis Joplin, The Doors. Esoteric Poets Of The Mind Kyros, The Lyrical Mentor brings you rock religion on the radio with musical revelation from the 60's and 70's. On the icon pedestals will be electric guitar demigods from the Sunday school of Page, Hendrix and Clapton..And from the pulpit the enigmas of musicdom will be vocally belting out the sermons with fanaticism. Those with ears to hear will be mesmerized by the rock prophet voices of Leonard Cohen, Jim Morrison, John Lennon, Robert Plant.......The congregation will be indoctrinated by Blind Faith, Doors of Perception, and Disraeli Gears of performance. This show is like the ten commandments in stone of the rock and roll bible...
Felipe y Diego hablan de Disraeli Gears, de Cream. La superbanda más conocida de la historia, con Eric Clapton al frente demostrando su talento con temas como Sunshine of Your Love o "Strange Brew.
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