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 Best studio tracks only, 4 badly mixed for the drums, and one live track January 4, 2008
1 out of 5 found this review helpful
If this really were the best of Cream it would consist almost entirely of live tracks whereas in fact there is only one included here, the celebrated 'Crossroads'. In any case 'Wrapping Paper' and 'Anyone For Tennis' obviously have no business being here as 'the best of' but are here simply because they happened to be released as singles, more because of Cream's management than Cream themselves. On the other hand of course this sort of compilation traditionally rounds up things that are not included on the main albums thus insuring sales to completists.
I really wish they had not chosen to take 'I'm So Glad' from 'Fresh Cream' as this does sound very artificial especially when compared with the amazing live version on 'Goodbye Cream'. There are other far more successful tracks from 'Fresh Cream' they could have chosen.
There was in fact no need for Cream to go into the studio to record anything, any more than there was for the Grateful Dead or Jefferson Airplane to do so, and when they did the results could be a poor reflection of their true quality.
But what we have here from 'Fresh Cream' allows us to see how the Cream sound evolved. Despite the elaborate studio production in the instrumental sections these versions are not substantially so different from live versions they gave in these early days to be heard on bootlegs and the BBC tapes. And what we have here in the studio is as much a starting point as anything else: it really does sound fresh; there is real value here and real pleasure. One may have serious criticisms of some of Cream's work but that is really only relative to their best work. Relative to everyone else in their area of music (i.e. 'blues rock' or maybe 'psychedelic rock') they always score very very highly and one wonders whether there should be any criticism at all for this reason. I would certainly not like it to be misunderstood by fans of Deep Purple, Black Sabbath, Ten Years After or Thin Lizzy. Their only real competition is from adjacent musical areas and groups like The Who and The Kinks and The Grateful Dead who have been frequently brilliant.
There are a number of straight blues on 'Fresh Cream', namely 'Sleepy Time Time','Lawdy Mama' and 'From Four Till Late' which they might have chosen. Vocally 'Sleepy' is better than the live version which came later. But at the end of the day these are not such important pieces as those chosen for inclusion as neither these studio recordings nor any live versions I have heard of these particular pieces transcend the blues; they are always performed as conventional blues and in fact do not lend themselves to the sort of unique Cream treatment for which I value the group most.
As for the tracks taken from 'Disraeli Gears' they are in the old digital mastering with somewhat blurred or muddy bass; loud but not clear. The drums are too isolated and although they are not as lightweight as in the latest re-mastering they are still not as heavy as they should be. The latest re-mastering has cleared up the bass but apparently done so at the expense of the drums which are now even less effective. Here I strongly recommend that you should listen to the mono mix that a rare spirit in the record company has put out on the 'deluxe' issue of that album. In the mono mix the drums are much heavier (with more bass clout, less top) and much more convincing,
Heard in the mono mix these tracks are as good as rock from the recording studio gets. You just have to hear 'Sunshine Of Your Love' in the mono mix to realise how exciting it can be. Otherwise it just isn't exciting. It's as simple as that. I concede that some of the tracks from the 'D.G.' album work well enough in stereo but certainly 'Sunshine', 'Ulysses', 'Outside Woman Blues', 'We're Going Wrong' and 'SWLABR', are not among them and of course it's precisely these five tracks which allow me to call it a 'great'* album. The problem is the drums. Simply that. Otherwise the stereo mix is good. Get the Deluxe Edition of 'DG' and check all this out for yourself.
One thing that can undoubtedly be said in favour of virtually all of these studio tracks, but especially those from 'DG' and 'Wheels', is that the singing is of a very high quality in terms of any singing in rock. There is a nobility and a sort of heroism in Jack Bruce's voice not to be found elsewhere. After 'Songs For A Tailor' even Jack didn't often have this quality in his voice and I doubt whether he realises what he has lost; its not that he has lost the instrument (his voice) but that he seems to have lost the inclination so often to demonstrate its health and strength (which of course, represents our strength, as vicarious participants).
This wouldn't be so important if there were other singers in rock representing this but significantly there aren't, only plaintive Everymans and great numbers representing anger or frustration, despair or blandness, robotic blank neutrality or rabble rousing folksy enthusiasm, or simply exhibitionism for its own sake - all sung or rather shouted, barked, rasped or croaked by adolescents, phony grizzled hobos or manic psychos. I speak of course of singers fronting groups and singer songwriters rather than singers who are thought of as soloists,or soloists with regular ensembles behind them. But no doubt everyone will want to nominate their own exceptions.
To illustrate my point, just think how wonderful it is to hear Roy Orbison sing with The Travelling Wilburys. We badly need singers of this quality fronting rock groups although there can always be room for some shouters in music which in the last analysis is a form of folk music. Of course Jack Bruce himself does indeed shout on some of his greatest performances such as the stupendous live 'Spoonful' on 'Wheels' but here it is absolutely justified by the pressure of feeling in the context which I have discussed in my review of that album.
Whatever the change in Jack's style of delivery he is still an incomparable vocalist and I shall continue to follow his career with more attention than anyone else's. There are occasions in any case, where he sounds just like the old Jack of Cream but you need to seek them out.
* Why the inverted commas? - because it's only rock and roll that's why.
 cream of the crop! The most talented and influential band ever. March 5, 2007
Cream was great because..
Each person was a virtuoso in his own right, they came together to form a
unique sound, blend of pop, blues, jazz and rock. Oh yea and they were also
amazing live. Did they deterioriate in 1968, yes. Why? Interpersonal
relationships gone terribly wrong, and Eric's insecurities did them in.
I'd put Fresh Cream, Wheels and Disraeli up against any other rock bands
output of 1966-1968 and only the Stones and the Beatles were as consistent,
IMO.
Another reason they were great, is that inspite of notoriously sounding bad
on the first album, production, etc wasn't as good as I'd expect, they
created a new sound, a new approach to the business of making records and
while their lyrics weren't beatles-eque, they combined all the flower-power
element along with keeping their blues influences in tact. I love listening
to the sheer instrumentation on Fresh Cream and live Wheels, it's an
amalgamation of so much
Another more important reason to us, as EC fans, is that this was first big
step into full out improvisation and being pushed on to bigger and better by
his band mates. True it became QUITE contemptious in the last year, but at
their peak, it was amazing to hear the moving pieces come together as one.
So many differnt guitar tones, techniques (all gibson, btw) displayed. Full
out.
As for Olli, I think it was he, who mentioned the many faults of Beano.
C'mon man it's like saying the Mona Lisa was great, but a little clumsy
because of faulty brushstroking.. I think it's great because of all the
faults you mention. Mayall's voice, yea he's no Howlin Wolf, but as white
bluesleaders go he's the most respected and most (one of) influential. The
drumming sounds ok to my ears, but then again I'm not listening for the
drumming or the keyboards. I'm listening for Eric's guitar and so much
innovation in those 11-12 tracks. It's a classic because it's just a fierce
no holds barred guitar assault on the blues done by a master.
Most overrated band ever December 19, 2006
1 out of 10 found this review helpful
What is the big fuss about Cream? Most people don't rate Clapton anymore (because he's rubbish.) I mean, that guitar sound? It's nauseating! Absolutely unbearable. And just what on earth are songs like 'Wrapping Paper' and 'Spoonful' abour? Pop and blues at its dire worst. Jack Bruce has a good voice and is a decent bassist, and Ginger Baker is quite good, but he lapses in time far too often and is definitely not the legend that he is made out to be.
'Sunshine Of Your Love' is a good song, as is 'Tales Of Brave Ulysses'. 'White Room' is excellent, 'Crossroads' is good, and so is 'Badge'. The rest is poor.
If you are interested in Cream then download the above five songs. Avoid the rest.
 The best of Cream? December 8, 2006
1 out of 7 found this review helpful
This has some great songs on it, but a lot of rubbish, too. It seems to me that Eric Clapton is the most unbelievably over-rated guitarist that has ever lived. He is the emporer's clothes. The solo on 'Strange Brew' illustrates my point perfectly. I was actually crying with laughter when I first heard it.
It starts off badly, with 'Wrapping Paper' and "I Feel Free'. 'N.S.U' (whatever that stands for) is a good song, but it doesn't really piack up until 'Strange Brew', although the solo lets it down. 'Sunshine Of Your Love' is probably their mlost famous song, and is pretty good. "Tales Of Brave Ulysses' is a great song, and 'SWLABR' is also quite good. "White Room' is probably their very best song, followed by 'Croosroads'. Superb. 'Born Under A Bad Sign' and 'Badge' are also very good, the latter written by none other than George Harrison. "Deserted Cities Of The Heart' is also good.
The rest, sadly, is meandering nonsense; unoriginal, boring, and doesn't belong on here. But there uis no doubting the talent of Cream. Ginger Baker was, maybe still is, an awesome drummer, and Jack Bruce's airy voice and excellent bass playing deserves credit. Clapton plays quite well on a handful of songs ('Tales of Brave Ulysses', 'White Room' ans 'Crossroads') but isn't a patch on the likes of Jimi Hendrix, Stevie Ray Vaughan, Johnny Marr, Billy Duffy, David Gilmour etc. 'Slowhand' should have a new nickname; 'Tuneless Slow McBoring'. There, someone had to say it. If you don't like it, tough.
All in all, a decent album with some very listenable songs. But if you want to experience Cream, then look elsewhere.
Classic blues-rock group March 29, 2005
22 out of 26 found this review helpful
Cream (Eric Clapton, Jack Bruce, Ginger Baker) were possibly better as a live act than on record, but their records (at least some of them) were nevertheless impressive and this CD captures the best of their recorded music. The group were generally more popular in America (where they spent a lot of time touring) than their British homeland. They were never really a singles act although they had some chart hits. They never made the UK top ten but they came close with I feel free. They also made the UK top twenty with Strange brew and Badge. Wrapping paper, Anyone for tennis, Sunshine of my love and White room all became minor UK hits. Every one of those tracks can be found on this collection, together with other brilliant tracks including Spoonful, Politician and Crossroads. This compilation provides a great introduction to Cream's music, though maybe the best way to hear them is via their original albums (Fresh Cream, Disraeli gears, Wheels of fire, Goodbye). Still, this is the best place to start if you are new to their music.
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