Cream Transmissions 1966 - 1968 (2-CD)

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(POLYDOR) 29 Titel, 1966-68, 16-seitige Broschüre mehr

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Cream: Transmissions 1966 - 1968 (2-CD)

(POLYDOR) 29 Titel, 1966-68, 16-seitige Broschüre

Artikeleigenschaften von Cream: Transmissions 1966 - 1968 (2-CD)

Interpret: Cream
Albumtitel: Transmissions 1966 - 1968 (2-CD)
Genre Beat
Label BROKEN SILENCE
Artikelart CD
EAN: 5060209013084
Gewicht in Kg: 0.2

Cream - Transmissions 1966 - 1968 (2-CD) CD 1
01	Sweet Wine	Cream
02	Steppin' Out	Cream
03	Wrapping Paper	Cream
04	Rollin' And Tumblin'	Cream
05	I'm So Glad	Cream
06	Sleepy Time	Cream
07	Crossroads	Cream
08	Steppin' Out	Cream
09	Cat's Squirrel	Cream
10	Traintime	Cream
11	Hey Lawdy Mama	Cream
12	I'm So Glad	Cream
13	Four Until Late	Cream
14	I Feel Free	Cream
15	Traintime	Cream
16	NSU	Cream
17	Toad	Cream
18	NSU	Cream
19	Steppin' Out	Cream
20	Traintime	Cream
21	Toad	Cream
22	I'm So Glad	Cream

Cream - Transmissions 1966 - 1968 (2-CD) CD 2
01	Strange Brew	Cream
02	Tales Of Brave Ulysses	Cream
03	We're Going Wrong	Cream
04	Tales Of Brave Ulysses	Cream
05	Take It Back	Cream
06	Sunshine Of Your Love	Cream
07	Born Under A Bad Sign	Cream
08	Take It Back	Cream
09	Outside Woman Blues	Cream
10	Spoonful	Cream
11	Tales Of Brave Ulysses	Cream
12	Sunshine Of Your Love	Cream
13	Swlabr	Cream
14	Politician	Cream
15	Steppin' Out	Cream
16	We're Going Wrong	Cream
17	Blue Condition	Cream
18	Sunshine Of Your Love	Cream

Cream, recognized in retrospect as the original 'supergroup', was a trio formed in the summer of... mehr

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"Cream"

Cream, recognized in retrospect as the original 'supergroup', was a trio formed in the summer of 1966 when Eric Clapton left John Mayall's Blues Breakers with a reputation as Britain's finest blues guitarist and teamed up with two for-mer members of the Graham Bond Organization, Ginger Baker (drums) and Jack Bruce (bass), who, after being bul-lied out of the Organization by Baker, had spent the pre-vious six months languishing in pop with Manfred Mann —he played on 'Pretty Flamingo' — and getting his kicks stag-ing harmonica battles with Paul Jones. Their pedigree in British blues was immaculate, their individual technique superb, and, having all had to fight for prominence in ego-centric line-ups, they possessed a rare equilibrium.

In contrast to the heavy, blues-oriented performances of their early live work, the group's first single, 'Wrapping Paper' (Reaction, October 1966), was emphatically low-key and flopped. But 'I Feel Free' and the more stylistically characteristic Fresh Cream, released in December that year, both made the charts. On stage their forte became extended improvisation, and following Disraeli Gears (1967) — like the first album a studio production — their albums juxtaposed long, live work-outs of mainly blues material with shorter studio songs, usually by Jack Bruce and Pete Brown, such as `White Room' and 'Politician' on Wheels Of Fire. Since the group had been spending much of their time in America, where their impact on audiences generally ignor-ant of the first wave of British blues had been greater than at home, the 'Live At The Fillmore' set on the double Wheels Of Fire (Polydor, 1968) was a revelation to the many British fans who had never seen them on stage.

Although the energy of 'Spoonful' and Baker's drum feature, 'Toad', became dis-sipated over a quarter of an hour, the reworking of Robert Johnson's 'Crossroads' was a startling demonstration of Cream's considerable qualities with its stunning solo by Clapton urged on by Bruce's constantly challenging bass patterns and Baker's restless drumming. Apparently at a peak of creativity and universal popular-ity, but privately dissident, they announced their intention to split, which they did at the end of 1968. Goodbye (Polydor, 1969), included, besides some of their best live work, their third and final hit single, 'Badge', written by Clapton and George Harrison. At their best masters of blues interpreta-tion and rock musicianship, at their worst purveyors of empty virtuosity, Cream's influence was two-fold — they en-couraged the worst excesses of heavy self-indulgence as well as inspiring individual expression.

As if to emphasize the fact that the group had broken up before exploring their full potential, their recordings were subsequently repackaged in seemingly endless permutations.

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