The Cavern
Rock & Words
DISRAELI GEARS (Cream 1967)
Artist: Cream (B)
Recording Dates: May 1967
Release Date: 2 de Noviembre de 1967. UK
Record Label: Reaction / Atco
Producer: Felix Pappalardi
Rating: 10 (MUST HAVE)
Era: Psychedelia (1966-1969)
Subgenre: Guitar Heros
Best Song Sunshine for Your Love and Strange Brew just below.
Tracklist: 1) Strange Brew; 2) Sunshine Of Your Love; 3) World Of Pain; 4) Dance The Night Away; 5) Blue Condition; 6) Tales Of Brave Ulysses; 7) Swlabr; 8) We're Going Wrong; 9) Outside Woman Blues; 10) Take It Back; 11) Mother's Lament.
If I had to go to a desert island and take only 10 records (along with a player and solar power system), this would be one of them. Without a doubt. This is one of the masterpieces in the entire history of rock, and I never tire of listening to it and discovering new things each time. It's not easy to choose among the best of '67, which in my opinion was the best year in terms of both quantity and quality of rock music produced, but this album crowned a glorious year that saw some of the best work from the Doors, The Beatles (I'm talking about Magical, not Sgt. Pepper's), Pink Floyd, Hendrix, The Who, The Velvet Underground, Jefferson Airplane, Janis Joplin, the Rolling Stones…
Unlike Fresh Cream, this is a very consistent album, with some true masterpieces and a few lesser tracks, but also some quite interesting things to be found. Even in the weakest song, like "Blue Condition ," there's a certain melodic charm despite Ginger's sleepy vocals. The sound of all the instruments throughout the album is sharp and powerful, with tremendous production: the drums on the left, the bass on the right, and the guitar swirling all over the place. Ah, that guitar… Here Clapton has fully discovered the power of the wah pedal. He wields the wah pedal like a god. If the graffiti claiming this sounded exaggerated in 1966 , by now it's undeniable, and Clapton owes much of his place among the trinity of guitarists to this album. Later came Wheels of Fire , Derek & The Dominoes , and other Clapton albums, but none as consistent, experimental, and perfect as Disraeli. Ginger, for his part, not only delivers impressive drum hits, but does so with masterful precision, displaying a technique that would confirm him as one of the best in history. Jack noticeably improves his songwriting skills, largely due to his collaboration with Pete Brown, and his vocals also improve, achieving some very good moments. However, realistically, Bruce's strength lies in his bass playing, not his pen or microphone. Despite demonstrating that he's a tremendous, creative, and fast bassist, Bruce isn't a great singer or songwriter , but on the other hand, this would be his best attempt in these areas, and his effort is appreciated. Overall, the three musicians manage to overcome their biggest weaknesses, especially vocally, to sound confident and assured, giving the music much greater power. Here, all three are at their best, and Clapton dares to step outside his blues comfort zone to experiment with psychedelia and pop, which are the essence and foundation of the album.
The album, then, is a perfect reflection of that mythical Summer of Love, achieving a psychedelic rock-pop sound with blues influences, very similar to what Hendrix was doing, but at the same time from the opposite extreme. That is to say, while Jimmy is incendiary and unpredictable, Clapton uses more technique and elegance (without losing any of the power), but both delight with their guitar playing and acid sounds. Two sides of the same coin.
Furthermore, perhaps no other album in history has such a perfect match in terms of cover art and sound. The cover was designed by Martin Sharp, an Australian who was Clapton's neighbor and friend. And what a cover! Totally groovy with intense colors, wings emerging from the band's name, the three faces in strobe-like colors… It's as if we put on LSD and this cover summarized the spirit of that year, in a more effective and simple way than the bombastic cover of Sgt . Pepper's. In addition to designing the cover, Sharp fancied himself a poet and contributed the poem that would later become the lyrics for "Tales of Brave Ulysses", which is why it sounds lyrically different from the rest of the material.
Regarding the album title, it was one of those ideas that could have easily occurred to Ringo Starr. Originally, the album was simply going to be "Cream," but one day Eric was arguing with Ginger about bicycles because he wanted to buy a racing bike; Mick Turner, who was a casual friend, overheard the conversation and remarked, " It's He got Disraeli Gears” instead of “ Derailleur Gears,” which is the gear-shifting mechanism. He was probably drunk or high, but he gave a majestic title to an album that deserved more than just “Cream” on the cover.
The album's main innovation is the way it transforms pure blues into a magical and brilliant blues-pop-psychedelic experience. "Strange Brew", the opening track , is a magnificent example and the second most important song on the album. This song is crafted with tremendous intelligence: while still imbued with the aura of 1967, it remains fresh and current, with a perfect sound—sweet and flowing, yet sharp and menacing at the same time—and surreal lyrics about a witch in love with the narrator that perfectly complement the mid-tempo rhythm and falsetto vocals . Clapton's arrangements are simply exquisite, blues-based but laced with acid, featuring a magnificent guitar solo, slow as waves of notes, as if justifying his nickname " Slowhand ." Check out Ginger's drum fills! And what can be said about the bass line, deliciously rhythmic, carrying the song along in its ebb and flow? And the closing mini-solo by Eric is the icing on the cake. A well-rounded song from every angle, and a clear example of the intelligence and maturity these guys had acquired in creating music.
The second track is phenomenal. "Sunshine of Your Love" isn't just one of the best songs of 1967, but of all time. It's perhaps the most well-known and recognizable riff ever, and quite simple , actually. Many kids don't even know who it's by, but they can play it. More than a psychedelic piece, it's a powerful, slow, hard rock song, an avalanche of force. It's said that the riff ( What a riff!!) WHAT A RIFF!!! Jack Bruce created it by accident while tinkering with his double bass. Besides the powerful guitar, which alone sends shivers down your spine, the drums are devastating. Frankly, I don't know much about rhythm, but the drummers I've played this song with say it's quite difficult because it's played "backwards." In any case, the drum riff is also monumental and instantly recognizable even without other instruments. The vocals alternate between Jack and Eric, both doing a great job with what the song demands, and blending perfectly in the choruses. I love the part where Jack raises his voice in the second verse. The guitar solo at the two-minute mark is one of Clapton's best—vibrant, full of energy, and bluesy, fitting perfectly with the song's structure.
The third song is “World of Pain”, a pessimistic and melancholic track with a slow tempo, but once again featuring perfect instrumentation, with Mr. Baker's drumming being particularly noteworthy. Also worth mentioning are the vocal changes, where Bruce begins with a low voice, perhaps too low for him, and then launches into a high falsetto to reach the chorus in this soaring register, where Eric joins him. They should sing duets more often, as this is undoubtedly when Cream's songs truly shine.
Next comes “Dance The Night Away”, where the blues influence is barely noticeable, and it's more of an excellent pop song. Eric manages to soar with his guitar before each chorus, creating impressive mandolin-like arrangements. It's not a frantic riff, but rather small solos that build towards the grand chorus: “ Dancethe-NightaaWAYYYY .” His guitar has never sounded so harmonious, so sweet, like a rainbow from which he's squeezed every last note and sound. Bruce and Ginger also sound phenomenal here , but without a doubt, Clapton's work is outstanding.
“Blue Condition” is the weakest track on the album, sung by Ginger. Aside from Don Henley, there aren't many drummers who can effectively sing while playing. And in the studio versions, they don't even have to do it simultaneously. But this song demonstrates why the vocal responsibility falls to Jack Bruce and Eric Clapton, even though they're not exactly Pavarottis either . At least he's in tune, but the way he sings, sounding sleepy and like he has the flu, is very unpleasant. Anyway, the musical harmony isn't bad and has a certain charm. It's not as powerful as the other songs, but it's not truly awful either…
The second side of the album opens with “Tales of Brave Ulysses”, written by Sharp about the adventures of Odysseus, and therefore brimming with that imaginative soundscape: mermaids, mournful winds, laughing purple fish that dart between fingers, foaming waves, and goddesses who wander in their pearly shells… the song is fantastic in every sense, with a somber yet dynamic atmosphere. Musically, it's a masterful duel between Bruce's furious bass playing and Eric's experimentation with his wah pedal at full blast. An imaginative and powerful work, thanks to the techniques of all three musicians.
Then there's "SWALBR", short for "She Walks Like A Bearded Rainbow." The truth is, it's Mr. Clapton who looks like a bearded rainbow , with another impressive riff, more bluesy than the previous tracks. The guitar sounds fast, full of fury, literally roaring on some notes and giving it a lot of power without overloading the distortion pedal.
The eighth song is “We're Going Wrong”, another depressing track, much underrated by many. From the very beginning, the song is shrouded in a contagious aura of sadness. Jack Bruce delivers his best vocal performance here, crafting a complex and deeply emotional melody that conveys dark feelings. The melody, almost entirely in falsetto , is repetitive but well-structured, and he manages to subtly alter it to avoid making it tiresome or repetitive. Baker, for his part, lays down a massive drum solo from the start, seemingly at odds with the mantra-like vocals of Jack. However, it fits well, steadily building the tempo until it culminates in a devastating structure that could easily belong on one of Godsmack 's mountain-shattering tracks . Clapton, meanwhile, provides simple strumming to establish the chords in the first part, before launching into a guitar solo that strongly recalls what he would do a few months later with the Beatles—not because he plays the exact same solo, but because you can feel his guitar weeping. It's not as complex as some of the other songs on the album, but I think it's very well done and the criticism is undeserved.
“Outside Woman Blues” is another minor track on the album. Again taking a blues-based approach, the riff sounds somewhat immature and lacking in power, but at least the drumming is quite good, especially when Ginger hits that triple hit. At least it's better than “ Four” Until Late” from the debut album.
“Take It Back” is a catchy, pop-infused, and festive song. You can even hear a harmonica in one of them. The guys seem to be having a blast. It's a song that holds up well, but it doesn't sound particularly impressive. Bruce wrote the song in reference to a protest where students burned their draft cards. So, this is an anti-military anthem, a political song disguised as a party tune.
Finally there is “Mother's Lament" is a practically a cappella melody, with just a little piano , funny lyrics, and a rather amusing harmony. Doesn't it remind you of The Borbotones? Or that part, "In a JAAAAAAAAAAAR," which sounds like the jingle for "Two and a Half Men"? It's not a serious song; on the contrary, it's very fun, especially if you listen to it with headphones, first with the right ear and then with the left.
In short, a monumental piece, showcasing three musicians considered among the best on their respective instruments and at their musical peak. Pete Brown's collaboration on the composition is a significant asset, contributing more elaborate and mature harmonies. Clapton, for his part, is at his most creative and experimental, rivaling Hendrix for the title of best guitarist. From beginning to end, it's a delight, although a couple of tracks fall below average; these aren't truly disastrous.
Many people say it 's overrated these days . I disagree. Rolling Stone ranks this album 112th of all time. So it's not me saying Rolling Stone doesn't know anything about music; they're the ones saying it. This album definitely deserves to be among the 10 best and most influential in history.
The album was finished long before Sgt . Pepper's , but the record company held off on its release until almost the end of the year. This undoubtedly diminished its potential impact, but it has nonetheless established itself as a revolutionary, magnificent, and essential album for any music collection , despite the sacrileges of those "so-called" experts. If you don't own it, don't expect VH1 to recommend it... what are you waiting for? Leave it downloading while you run to the record store, this is a MUST HAVE!
By Corvan
Apr/6/2009
