Eric Clapton and his music

Set-List 24.10.2005

I'M SO GLAD
SPOONFUL
OUTSIDE WOMAN BLUES
PRESSED RAT & WARTHOG
SLEEPY TIME
TALES OF BRAVE ULYSSES
N.S.U.
BADGE
POLITICIAN
SWEET WINE
ROLLIN' & TUMBLIN'
STORMY MONDAY
DESSERTED CITIES OF THE HEART
BORN UNDER A BAD SIGN
WE'RE GONE WRONG
CROSSROADS
SITTIN' ON TOP OF THE WORLD
WHITE ROOM
TOAD
SUNSHINE OF YOUR LOVE

Boston Globe
MUSIC REVIEW
Cream rises to the occasion
By Joan Anderman, Globe Staff | October 25, 2005
NEW YORK -- It is the mother of all reunions. Cream -- the original supergroup, seminal power trio, and egomaniacal virtuosos who in a mere two years laid the foundation for heavy rock, jam bands, and celebrity feuds -- are back together for at least a few fleeting moments. Ironically, there was little heaviness, jamming, or feuding last night at Madison Square Garden during the opening show of Cream's three-night stand here -- the only concerts the band has scheduled in the United States.

The only nod to psychedelia was an oozing rainbow backsplash, against which drummer Jack Bruce sat ramrod straight, peeling off taut rhythms with marvelous efficiency. Eric Clapton, ever the laid-back guitar god, seared his instrument to perfection. Bassist Jack Bruce, the evening's revelation, crisscrossed his bandmates' sensible paths with mischief and daring.
Nearly four decades after the British trio's brief, illustrious run in the late '60s, however, mastery never quite translated to synergy, and supreme balance trumped magic and chaos every time.
But what balance. This mix was so democratic one imagines that lawyers were involved. It was clear from the start of Cream's 20-song set -- a glistening, streamlined version of the Skip James gem ''I'm So Glad" -- that the signature three-headed assault of the band's early days was a thing of the past. In short order ''Spoonful," which stretched out graciously but never wandered too far or too long from center, confirmed Cream's shift into the mature musician's comfort zone -- forsaking the wild fires of youth for clean lines and predictable plots.
''Crossroads," gilded with the solo Clapton gleam, was pared down to three minutes. The classic-rock radio staples ''White Room" and ''Sunshine of Your Love" promised great peaks but were reined in soon after the ascent began. Again during ''Sweet Wine," the elusive riveting groove emerged only to disappear before lift-off, the victim of careful scheduling.
Oddities like Baker's spoken-word piece ''Pressed Rat & Warthog" and the skewed blues ''Politician" stood out all the more for their distinctive textures. And a show-stealing version of ''Rollin' and Tumblin' " -- a careening mess of Bruce's harmonica, Clapton's slide guitar, and Baker's snapping snare -- was a too-fleeting foil to the night's wealth of tasteful restraint.
It's worth noting that with the exception of a brief set at the band's 1993 induction into the Rock and Roll Hall of Fame, Clapton, Bruce, and Baker hadn't played together in 37 years until this past May, when Cream did four dates at London's Royal Albert Hall. Everybody got what they've candidly revealed they came for -- Clapton the collaborative spark, Bruce and Baker the paycheck, and the audience a massive jolt of quality nostalgia -- which inspired the group to book the New York shows.
One wonders what might happen if Cream continues on as a trio, and makes an investment in unearthing the magic as well as relearning the songs.

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Несколько реюнион-обложек!

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Случайно может кто знает,, в фильме ""Дом у дороги"" с Патриком Суэйзи случайно White Room не звучит в одном кадре??

future_of_music
По крайней мере, в саундтрэк эта пестня не входит.

SergeK***
Сержек, так я в Монтрё внимание обращаю в основном не на Эрика, а на Миллера и Сэмла.

2future_of_music:

>Случайно может кто знает,, в фильме ""Дом у дороги""
>с Патриком Суэйзи случайно White Room не звучит
>в одном кадре??

Она, родимая. Она там звучит перед тем, как магазин Реда загорелся. Я много раз смотрел этот фильм, поэтому хорошо знаю.

2SergeK:
Реюнион-обложки - супер!

2Alex Red:
>Сержек, так я в Монтрё внимание обращаю в основном не на Эрика, а на Миллера и Сэмла.
А Сэнборн со Стиви? Прошли мимо внимания? :)))
Сэмпл - мой кумир!

Cream Take New York
Reunited supergroup light up Madison Square Garden, for better and worse

In May, the pioneering British power trio Cream played their first shows in thirty-seven years at London's Royal Albert Hall. On October 24th, guitarist Eric Clapton, bassist Jack Bruce and drummer Ginger Baker extended their improbable reunion, opening a sold-out three-night stand at New York's Madison Square Garden.
Not much had changed since the spring: Clapton was still dressed down, in a blue shirt and jeans, and running his Fender Stratocaster through a modest battery of two small Fender amps and one shoulder-high speaker cabinet: a far cry from the great wall of Marshalls that were his trademark in Cream's late-Sixties lifetime. Baker wore a Cream T-shirt and said a few words on behalf of the merchandise stands after his Cockney-fishmonger rap in "Pressed Rat and Warthog" ("Pressed Rat and Warthog have reopened their shop in the lobby . . ."). And the set list was virtually unchanged from the Albert Hall, with the single addition of "Tales of Brave Ulysses" from Disraeli Gears, sandwiched between the heavy crawl of "Sleepy Time Time" and the bright blues-pop of "N.S.U."

But there were notable differences in atmosphere, flattering and otherwise. Where the sound at the Albert Hall was clean and only moderately loud -- lacking the earthquake force of the live half of 1968's Wheels on Fire but revealing more of the jazz conversation inside the tumult -- the booming Garden P.A. fattened Clapton's tart curls and prolonged Strat screams in "Spoonful" and "Politician" and put heart-attack heft on Baker's tom-tom bombs and double-kick-drum outbursts. Unfortunately, the haunted vertigo of "We're Going Wrong" -- a nightly highlight in London, as Baker's 6/8 rumble on the toms and Clapton's climbing strum pressed Bruce's clear vocal pleading to peaks of agony -- was turned into grey soup by the airplane-hangar echo in New York.

Ironically, in a season when the Rolling Stones, Paul McCartney and U2 have all come through the Garden with thunder-and-lightning stage shows, the greatest shock of Cream's performance was the understated charge of three superior musicians simply playing. When they truly connected -- in the three-way-solo passage of "Sweet Wine" and the runaway simplicity of "Rollin' and Tumblin'" -- Cream lived up to the expectations they left behind nearly forty years ago. And there was an obvious combined thrill of discovery as Cream stepped outside the old songbook for the T-Bone Walker blues "Stormy Monday." Soloing with fire and confidence, Clapton stood toe to toe with Bruce at the foot of Baker's drum riser: the three intently facing each other, genuinely reunited in technique and delight.

One sore point: The light show behind them was a horror, a cornball digital recreation of the throbbing blobs of a vintage Fillmore light show. The crude pixilation and garish Peter Max-style hues -- a minor distraction in the Victorian splendor of the Albert Hall -- looked cheap and cheesy in the big black hole of the Garden, insulting to the music and its original era. Either do it with oils and lamps, or don't do it at all.

DAVID FRICKE

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Специально для Коли Денисова

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