Cream
Cream was the brainstorm of drummer Ginger Baker. He had been toiling away with several British Blues and Jazz outfits, including the Graham Bond Organization where he played with bassists Jack Bruce. But the two never seemed to click.
Meanwhile, guitarist Eric Clapton had split from the Yardbirds because the band had ditched its Blues roots and had become “too pop.” Clapton began performing and recording with John Mayall’s Bluesbreakers.
The “Clapton Is God” slogan began appearing on London walls. As Clapton was leaving the Bluesbreakers (he never stayed with any group very long) Baker approached him with the idea of starting a group. Clapton was receptive to the idea. Baker thought any band with Clapton was going to be huge.
Clapton even had his own ideas about a band. He thought it should include Jack Bruce. Baker’s heart sank. He could tell Bruce was Clapton’s first choice (the two had played together in the Bluesbreakers). Baker swallowed hard, and not wanting to miss his main chance, agreed that Bruce would be a good choice. In ’66 the band began rehearsing in secret.
“Fresh Cream” was released in early ’67. The album had Blues covers and originals but the instrumental jams were the main draw. “Fresh Cream,” which included Baker’s drum solo “Toad,” was a moderate success.
But as ’67 segued into the Summer of Love things changed. Everything was psychedelic and experimental. Jimi Hendrix had arrived and set Rock on its ear.
In December of ’67 Cream presented their classic “Disraeli Gears” album (a pun on bike derailers). The riff driven, double tracked guitars fed into fuzz boxes and wah-wah peddles, with propulsive drums and rumbling bass gave the band a signature sound. The group got songwriting help from Peter Brown (his lyrics were pure mind-altering psychedelia) and Martin Sharp (who created the album’s cover).
Cream’s signature song, “Sunshine of Your Love,” hit big riding a percussive and repetitive guitar riff.
That signature riff was actually Bruce’s creation He and Clapton finished the song with lyrics by Brown, Baker developed an innovative drum beat, Bruce handled the vocals.
As a live act Cream built its reputation for extended instrumental improvisation and volume. The volume issue weighed heavy with Baker who was stuck sitting in the back amid the mountain of speakers. Also, bad feelings between Baker and Bruce re-surfaced.
Next up was “Wheels Of Fire,” a double album with one side recorded live and the other in the studio. It was easy to dismiss most of the live material as over extended and indulgent. The lengthened version of Baker’s drum solo “Toad” was a prime example.
The one saving grace of the live material was the Clapton led rendition of “Crossroads.” Clapton, on vocals and guitar, tore into the Robert Johnson song with a vengeance.
On the studio side, things looked much better. Producer Felix Pappalardi contributed greatly to the record’s sound, not only from a production standpoint, but actually playing on tracks. The result was a richly textured recording.
A highlight was “White Room,” a pop hit, that concluded with an exuberant Clapton solo.
Cream’s internal problems were so bad the band was ready to call it quits. But the record company pleaded for one more album. The result was “Goodbye Cream.” This single album repeated the blend of live and studio material. The outstanding track was Clapton’s “Badge.” Written with George Harrison it was another Clapton classic. This was Harrison returning the favor for Clapton’s work on Harrison’s “While My Guitar Gently Weeps,” which was on The Beatles “White Album.”
Following the break-up, Bruce released a solo LP that failed to do much except provide “Theme For An Imaginary Western.” to Mountain with Felix Pappalard on bass.
Clapton and Baker spent less than a year in Blind Faith., Clapton went on to other adventures including a stint with Delaney & Bonnie and Friends before taking a swing with Derek & The Dominoes. When that failed to garner the expected commercial success, Clapton set out on a solo career.
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