Faced with a more demanding performing experience, Cream began improvising more and incorporating spontaneous jams into many of their songs, some stretching out to nearly 20 minutes. Written by Clapton, Cream is in fine form right off the bat, setting the stage for the incendiary performances to come. While the jams don’t reach the length or instrumental extravagance of latter recordings, it is still quite excellent with a fascinating "Spoonful". They enhanced both Clapton and Bruce and Baker’s arrangements of the songs with a perfect fused Rock/Jazz/Blues base furthered the elite sound of all three members. Jack and Atlantic Records and the group's producer, Felix Pappalardi (who would soon team up with Leslie West to form the Cream-influenced band Mountain) were wise to capture the band's onstage energy this time around, and much of Cream's live legacy is based on the results of these recordings. Crossroads (Live At Winterland, San Francisco / 1968), Spoonful (Live At Winterland, San Francisco / 1968), Traintime (Live At Winterland, San Francisco / 1968), Lyricapsule: The Surfaris Drop ‘Wipe Out’; June 22, 1963, Lyricapsule: The Byrds Drop ‘Mr. Cream's first residency at Bill Graham's Fillmore Auditorium occurred the last week of August and the first week of September. Much of the recorded evidence of their power on stage is sourced from these San Francisco performances and it's doubtful they ever played with more conviction or invention than they did on this final night at Winterland, March 10, 1968. Add a video. It was nice to see them all reunite in 2005 to perform in a series of concerts in both London’s Royal Albert Hall and New York’s Madison Square Garden. This audience recording of the Sunday documents this transitional period Cream clearly Recorded at the early show on March 10, 1968, the final night of this historic run, this particular set includes the performance of "Crossroads" that forever cemented Eric Clapton's reputation and presents an extended sequence from one of the group's greatest performances. Spoonful (Live At Winterland) was originally released as track 2 of side 3 (Live at the Fillmore) of the double vinyl album "Wheels of Fire"…, Spoonful (Live At Winterland) was originally released as track 2 of side 3 (Live at the Fillmore) of the double vinyl album "Wheels of Fire" (by Cream), on Polydor, in 1968. With many of the key up-and-coming San Francisco musicians attending this run of shows, Cream had a significant impact, inspiring groups like the Grateful Dead, Quicksilver, and countless others to further embrace spontaneity in their own performances. ), but indeed they did, although Pappalardi wisely chose to reverse their order on the album. Bill Grahams approach was to run two shows. Following "We're Going Wrong" the band take a minute or so to debate what to close with. Add lyrics on Musixmatch. Senator John McCain. Men lies about it Scrobbling is when Last.fm tracks the music you listen to and automatically adds it to your music profile. Despite antagonistic history between the two, Clapton convinced them to set aside their differences and Cream was born in 1966, becoming the prototype power trio, fusing the blues and rock 'n' roll into a powerful new brew. starts and ends within the same node. Men lies Yeah! Three times the capacity of the intimate Fillmore Auditorium and an entirely different experience, Cream never got the opportunity to perform there. The Beatles had released Sgt. Little old spoon, little old spoon, little old spoon Alright. Because these Fillmore Auditorium and Winterland recordings were utilized as individual tracks on multiple albums over the course of the next several years, much date confusion surrounds the individual songs as well. and a Lawdy which is no advance on 1966s Klooks Kleek version. Much had changed in the past several months, both culturally and musically. That spoon, that spoon, that spoonful and the bourgeoning Rolling Stone magazine, which had recently launched out of San Francisco. The confusion surrounding the venues on these recordings was further convoluted as the years went by and subsequent releases and reissues (including Cream's own recent career retrospective box set - Those Were The Days) identified some of the material from these recordings as being from Fillmore West, a venue the band NEVER played. Could fill spoons full of water Gears", describes it thus: "Instead of Claptons usual dazzling barrage of "East-West Live). Here one can experience both songs in context of the larger performance, beginning with that monumental version of Willie Dixon's "Spoonful." Wayne State U is just down the road from the Grande Ballroom. It was Jimi Hendrix’s awe of him that got him the exposure then Hendrix blew everybody off the stage. Just a little spoon of your precious love Credited to Willie Dixon as composer, despite considerable instrumental development and innovation, this original recording is identical to the last.fm (live at Winterland) version, notwithstanding understandable subtle differences in reproduced sound quality. Sadly this absolutely elite grand trio fell apart mainly because of their spiraling out of control drug use, any animosities between Clapton & Baker in retrospective had honestly came from drug and alcohol fueled not thinking clearly arguments. Graham would not present concerts there until June of 1968, which is when he moved operations and christened the venue Fillmore West. Clapton joined them. Friday At The Fillmore (sort to speak) ~ “Spoonful” ~ Cream Recorded March 10, 1968 at Winterland (early show) – San Francisco, CA. As such, Cream were first relegated to playing three songs per show, which was soon paired down to a single song, "I'm So Glad," which they were required to play five times a day. songs that were natural vehicles for jamming such as "Spoonful", "Sweet Everything's a-cryin' about it has now evolved to the typical 6-8 minute performance including the lead break from Jack. Although the tape runs out six and a half minutes in, this still provides another excellent example of the group building up a powerful performance based on the collective strengths of the individual members. Fair winds and following seas. Take them from the desert sands That spoon, that spoon, that spoonful Other than Clapton, who had a modest reputation from import recordings by the Yardbirds and Bluesbreakers, the members of Cream were unknown commodities in America. generation of listeners to a new musical genre called Rock. This is just a preview! Some of them cries about it For the first week, Graham presented the Butterfield Blues Band and Southside Sound System (which featured Charlie Musselwhite and Harvey Mandel) as openers to create a truly incredible triple bill of modern blues. Excerpts and links (along with all pictures gained from this blog that search engines have linked to blog) may be used, provided that full and clear credit is given to Longshot and Longshot's Blog with appropriate and specific direction to the original content. ( Log Out / Post was not sent - check your email addresses! Pepper and the Summer Of Love was in full swing when Cream landed in San Francisco, a city that would have a profound impact on the band. Note: When you embed the widget in your site, it will match your site's styles (CSS). Everything's a-cryin' about it For Creams gigs he hedged his bets by making it a double bill with the Paul numbers such as "Tales of Brave Ulysses", "Lawdy Mama" etc with those For this final run, Bill Graham would reverse the approach of the following week, beginning with one night of two performances at the intimate Fillmore Auditorium, followed by six shows over the course of three nights at the much larger Winterland, this time with the James Cotton Blues Band and Al Kooper's new outfit, Blood, Sweat & Tears opening. That spoon, that spoon, that spoonful exhausted their repertoire. ( Log Out / Change ), You are commenting using your Facebook account. Friday At The Fillmore (sort to speak) ~ “Spoonful” ~ Cream. This is a prime example of Cream at the peak of their exploratory powers. Let us know what you think of the Last.fm website. "Tales of Brave Ulysses" was the start of the first set. Ah-ah, yes, cryin' about it Cannot annotate a non-flat selection. If one listens closely, Clapton can be heard suggesting "Cat's Squirrel," but Baker vetoes the suggestion, and since they've yet to play one of his songs, they pursue "Sweet Wine," one of Baker's contributions to their debut album. In many ways, Cream is largely responsible for creating the basic blueprint for rock music, with their heavier (and much louder) fusion of blues and rock 'n' roll. When they returned Taking a few seconds to catch their collective breath after "Crossroads," the band next tackle Jack Bruce's "We're Going Wrong," which many listeners will find fascinating as it has never seen official release. Cream's first residency at Bill Graham's Fillmore Auditorium occurred the last week of August and the first week of September. Herein also lies the initial source of confusion surrounding the official notation of these gigs, as the liner notes in Wheels Of Fire attributed the second disc of the set as Live at The Fillmore, despite the fact that all but one of the tracks was actually recorded at Winterland. And “Spoonful” never got any better than your hearing. Despite "Spoonful" being based on a very simple riff, the trio has the ability to improvise both tonally and rhythmically and the results burn for a solid sixteen minutes. Little old spoon, little old spoon, little old Butterfield Blues Band. Bruce and Baker are particularly impressive here, playing with a relentless fury that is well beyond what any rhythm section was attempting at the time. Creative Commons Attribution-ShareAlike License. And it was this Winterland Ballroom performance which also included “Crossroads” that would forever set in stone as being the group’s best ever live recordings. set. The above comments have concentrated on Clapton simply because he was the one that made Since the Pappalardi/Halverson recordings have only been released as individual song edits, spread out and re-sequenced over several different releases, it is difficult, if not impossible, to enjoy an accurately sequenced continuous recording of Cream at their peak, unless one pursues poor quality audience recordings of the era.
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