Strange Brew (Eric Clapton/Gail Collins/Felix Pappalardi)
Eric – lead & solo guitar, lead vocals, harmony vocals; Jack – bass; Ginger
– drums; Felix – harmony vocals.:
The basic harmony is written to suit Felix’s falsetto style, who provides some of the
harmony vocals on the chorus, but Eric makes a good fist of it, which is the harbinger of things to come. The creative process
of this rock song is a perfect example of the plundering of Black American music in the creation of the Pop/Rock music industry.
However, Eric largely tried to ensure correct crediting of songs, and payment of royalties, unlike the record companies and
managers.
Sunshine of Your Love (Jack Bruce/Pete Brown/Eric Clapton)
Eric – lead guitars, lead vocals; Jack – bass guitar, lead vocals; Ginger - drums
An instrumental and lyrical milestone in rock music : a song that launched a million
guitarists, bass players and drummers all over the world. The heavy riff was born with the Kinks’ ‘You Really
Got Me’, but ‘Sunshine’ brought it of age. ‘Got Me’ has one guitar/vocal riff where Sunshine
has three: the guitar/bass, the vocal chorus and the drum pattern. It is the combination that absolutely hooks you.
Its genesis was at the end of a less than fruitful, night long, song writing session with tempers
fraying: Jack leapt up and started playing the riff on his acoustic bass, Pete looked out the window and the lyrics started
flowing (see how much sense they really make now, after this anecdote!). Based on the strength of the recording, they had
been working on it for a while.
The recording is uncomplicated, well balanced with minimal overdubs. Opening with guitar and
bass performing the riff in unison, but not identically, then joined by the drums back-beat pattern. Jack then Eric take alternate
verses and harmonise on the chorus. Eric’s superb note rich, high distortion overdubbed solo just launches (quoting
"Blue Moon") without bursting in. It then ends with a return to the riff for a few bars before vocals (excellent production
with the solo replacing the vocals then ending to reestablish the riff before recommencing the vocals – perfectly balanced
transition). It finishes with the fade out jamming. They don’t come any better!
When released, this was the break through single in the US. While it initially only reached
36 (in mid 1968 it returned to reach 5) it did get air play and was noticed by those who could hear, including lots of their
US peers (Jimi Hendrix regularly played it live). Its success was critical for the hugely successful touring in 1968 and the
sales of Gears.
World of Pain (Gail Collins/Felix Pappalardi)
Eric – lead & rhythm guitar, lead vocals; Jack – bass guitar, lead vocals;
Ginger – drums.
In a word wah wah – the effects pedals first appearance on this album as Eric counterpoints
to his bar chord rhythm line. Jack does the alternate verses in falsetto with Eric joining him on the chorus. Eric does a
multi-dubbed solo break and ending fade out. The song is pretty routine, especially the lyrics, and not really suited to Eric’s
voice having been written to suit Felix’s falsetto. It strengths are the excellence of the production and Eric’s
guitar work
Dance the Night Away (Jack Bruce/Pete Brown)
Eric – lead & solo guitars, harmony vocals; Jack – bass guitar, harmony vocals;
Ginger - drums
Opens with Eric’s ringing 12 string guitars, backed by cymbals. Jack and Eric sing the
whole song in harmony with Ginger propelling it through a series of climaxes. A mature peformance, especially Eric’s
guitar overdubbing, that would not have been out of place on ‘Wheels of Fire’.
Blue Condition (Ginger Baker)
Eric – lead guitar & solo guitar; Jack – bass guitar, piano; Ginger –
drums, lead vocals
Disappointingly Ginger’s only composition is a mundane slow blues (or dirge?). The only
saving grace of this filler is the incongruity of Ginger’s monotone vocals, which proves that anyone can have a go.
[Vinyl side 2]
Tales of Brave Ulysses (Eric Clapton/Martin Sharp)
Eric – lead & solo guitars; Jack – bass guitar, lead vocals; Ginger - drums
Opens with a group entry (guitar & bass sustained note, cymbal/toms), then descending bass
figure for two bars, then joined by warm rippling wah wah guitar for another two, then the initial verse and all backed by
shimmering cymbals – a truly heroic beginning for an epic musical voyage.
The masterful wah wah guitar and deep bass* playing the descending chords, with the rolling
drum patterns, are over laid by one of Jack’s finest vocal performances. Eric’s lead breaks are simply magnificent.
They’d been working this up for a while.
This is one of those ‘one-in-a-lifetime’ songs that songwriters dream of and, thankfully
for us, it was only the start for Eric. The poetic lyrics of Australian artist Martin Sharp, while unquestionably ‘tripy’,
stand the test of time in the context of the song. Eric shows his maturity by the ‘group’ introduction, which
relies heavily on the bass guitar but also, perhaps, his insecurity by handing the vocals to Jack. His decision was entirely
correct and shows how truly inspired he is.
* The full bass sound (compared to the higher sound of the Fender six string) of Jack’s
new Danelectric longhorn is used to full advantage
SWLABR (Jack Bruce/Pete Brown)
Eric – lead & solo guitars; Jack – bass guitar, lead vocals; Ginger - drums
Eric’s woman tone, much cleaner on the Gibson SG, is heard to superb effect. Ginger’s
always varying rolling drum patterns are worth the price of admission alone. But what does the title mean? – She Was
Like A Bearded Rainbow.
And what does that mean? Think about looking up into the light with someones head in the way -
a rainbow effect but with a beard! Don't read too much meaning into Pete's lyrics.
We’re Going Wrong (Jack Bruce)
Eric – rhythm & solo guitars; Jack – bass guitar, lead vocals; Ginger –
drums
This is basically a duet between Jack and Ginger in 6/4 time and sounding like it was written
with/for bowed cello. Eric plays bar chords plus a short, appropriately atmospheric, solo. How daring if Jack had done the
solo on bass? Ginger’s superb drum patterns on the toms, using felts, are just mesmerizing as counterpoint to the vocals.
Only the very best can pull off a song/performance like this - it really belongs to Ginger.
Note: this is the other song Ginger believes he should have received co-composer credit (check
out BBM's "Why does love (have to go wrong)")
Outside Woman Blues (Arthur "Blind Willie" Reynolds)
Eric – lead & solo guitars, lead vocals; Jack –bass, humming; Ginger
- drums
![Cream. Disraeli Gears [click for larger image]](/imagelib/sitebuilder/misc/show_image.html?linkedwidth=actual&linkpath=https://odysseyandoracle.tripod.com/sitebuildercontent/sitebuilderpictures/dgcreamgtrs.jpg&target=tlx_new)
![Disraeli Gears 1967 [click for larger image]](/imagelib/sitebuilder/misc/show_image.html?linkedwidth=actual&linkpath=https://odysseyandoracle.tripod.com/sitebuildercontent/sitebuilderpictures/frgears.jpg&target=tlx_new)
![back cover 1967 [click for larger image]](/imagelib/sitebuilder/misc/show_image.html?linkedwidth=actual&linkpath=https://odysseyandoracle.tripod.com/sitebuildercontent/sitebuilderpictures/bagears.jpg&target=tlx_new)
