The Cavern
Rock & Words
WHEELS OF FIRE (Cream, 1968)
Artist: Cream (B)
Recording Dates: Jul ‘67 – Apr ‘68
Release Date: July 16, 1968. UK
Record Label: Polydor
Producer: Felix Pappalardi
Rating: 9.5
Era: Psychedelia (1966-1969)
Subgenre: Guitar Heros
Best Song: White Room in one and Crossroads in the other, by far!
Tracklist: 1) White Room; 2) Sitting On Top Of The World; 3) Passing The Time; 4) As You Said; 5) Pressed Rat And Warthog; 6) Politician; 7) Those Were The Days; 8) Born Under A Bad Sign; 9) Deserted Cities Of The Heart; CD2: 10) Crossroads; 11) Spoonful; 12) Traintime; 13) Toad.
This double album achieved an almost mythical status from the moment of its release because by that time the group was already suffering from so much internal conflict and strain that its dissolution was imminent. The band decided to split up in May , only fulfilling previously scheduled live commitments, and the official dissolution of this mega-trio would come in November .
So this is the last album of Cream's short but substantial career. Later, a few live albums were released, such as Goodbye I and II, and the Farewell Concert, recorded during their performances during that final period of 1968. But to be honest, they aren't the band's best live recordings, as the internal tensions were evident; more than solos, they were battles to see who could stand out and be the loudest, and what they really wanted was for the band to end as soon as possible. I think even the recording from the Royal Albert Hall in 2005 surpasses them because, although time ( almost 30 years!!! ) hasn't been kind, at least the members sound in that reunion like a tight-knit band that enjoys what they're doing.
So, Wheels of Fire is a double album: the first part is a studio recording, and the second is a very high-quality live performance—at least in my opinion, better than Goodbye . Cream was a band that innovated in the studio, thanks to the sounds and experiments they achieved, especially Clapton with his pedals. But Cream's true magic was live, where they transformed into a three-headed monster, capable of stretching out magnificent improvisations full of technique and mastery that still amaze me today, while the audience demanded ever greater virtuosity and longer solos during their shows . The magic they unleashed live was unique, as they didn't need light effects or to jump around the stage; the three of them were very understated onstage, and simply listening to them is still contagious today with the tremendous energy they were capable of, although unfortunately, there aren't many quality recordings of them at their peak as a live band. The second disc of this Wheels of Fire at least shows them at a very acceptable level on stage, while the first disc presents the band in their most experimental facet within the studio, still with very good riffs and a strong blues influence, but also songs where the detailed creation of atmospheres takes precedence over the explosion of energy.
So, at the time of recording this album, Ginger and Jack were barely speaking to each other, while Eric was fed up with acting as an intermediary. But they decided to record this album as the final legacy of one of the most talented and influential bands in history. The album features brilliant psychedelic anthems showcasing Clapton's best wah -wah pedal work ever; ferocious blues covers that were practically rewritten and reimagined by the band; and well-crafted experimental pieces with Eastern or medieval atmospheres, instruments they hadn't used before such as the viola and trumpets, as well as funkier rhythms . It's true that Cream's real revolution was created on their first two albums, but this one certainly doesn't lack innovation.
The psychedelic aura starts with the cover. It's similar to the cover of Disraeli Gears simply because it was also designed by Martin Sharp, the difference being that the gray color is a bit less striking. At the time, the LP came in an aluminum case that accentuated the hallucinatory effect of the cover, an effect that earned Sharp the New York Art Director's Award. Award for Best Album Design in 1969. Personally, the gray cover doesn't appeal to me much, compared to the brilliance and color of Disraeli Gears, which I consider one of the best in history, but I suppose the aluminum gave it a much better effect than the current dull gray and somehow represents the band's mood.
The album opens with the sublime “White Room”, which in my opinion is the second-best song in Cream's short catalog and therefore the best on this album. It's a psychedelic anthem that combines the cosmic sadness of “ We're Going Wrong ” with the descending riff of “Tales of Brave Ulysses ” and a touch of magic from these three virtuosos. The intro is almost operatic, creating a wall of sound that at times resembles an orchestration, but it's simply the band with some effects, the guitar wailing with three fingers, and the bass and drums rumble powerfully in the background. Impressive. That intro always manages to knock me off my feet, and it's repeated a couple of times in the song, once at 2:15 and again at 3:30, just before the coda begins. Then the verses kick in, slow but with enough power from that delicious downward riff. Ginger does a very rapid drum roll to enter the cosmic aura that Jack creates when he sings the chorus in falsetto : “ I'll wait in this place, where the sun never "Shines …," while Baker lays down a mammoth drum solo with some off-beats , and Clapton adds light to his wah pedal and uses the tremolo bar for that celestial aura in the chorus, in addition to sprinkling the entire song with mini-solos , each second wilder than the last. Thus, the next verse maintains the same structure as the first, but the difference is that a ferocious dialogue is created between Jack singing and Clapton's guitar solo. This leads to the repetition of the intro , which, after the frenetic effect of the chorus, returns to lend a certain solemnity and magnificent darkness to the song. For the next verse, Clapton doesn't settle for a dialogue, but instead delivers an incendiary guitar solo over Bruce's voice, bringing the song to its peak, a blend of vocals and one of the best solos in Eric's career. A new chorus follows, then the final repetition of the intro , and just when it seems the song is going to end here (and it could), with that last sustained note at the 4-minute mark, The song explodes with a powerful instrumental coda: Eric delivers an even more potent and elaborate solo than before, while Bruce also provides a bass arrangement that's a solo in itself, managing not to overpower each other, and Ginger adds some truly apocalyptic off-beats and drum fills. What's remarkable about the song is the way they weave together an atmosphere that sounds both melancholic and powerful, achieving highs and lows, like at 3:00 when Eric sends us soaring to heaven with his tremendous wah-wah , only to immediately bring us back down to earth with a chorus that barely changes rhythm but noticeably drops in intensity, becoming almost intimate with Bruce's falsetto . The lyrics are somewhat silly, but who really cares with such incredible instrumentation? Anyway, I could spend hours talking about this track, but there are still 12 more to go. I just have to mention that I adore Clapton's wah-wah solos , in case anyone hadn't noticed.
Next up is “Sitting On The Top Of The World”, a blues cover reinterpreted as a slow but incredibly powerful blues-rock number. The guitar is heavily distorted, and the bass again seems to be playing a solo the entire time (which is why Bruce is my favorite bassist), while Ginger approaches the heavy, destructive tone that Bonzo would later employ on Zeppelin's debut album. The difference here is that this is a reworked blues, not a proto-metal piece . Some might find it boring because it's so slow, but the extended solo that begins at 2:15, in which the three instruments explore every possible resource that the basic blues structure allows, is colossal. It's definitely not a pop song, but this is one to blast and listen to with your eyes closed, following each instrument individually, to truly appreciate its value. At 4:15 Jack gives Eric back the detail from the previous song and starts singing right at the climax of the solo , creating together an orgasmic effect.
Next comes "Passing The Time", which also has an intro that's half operatic and half apocalyptic. However, it 's not psychedelic rock. After that energetic opening, a slow rhythm begins, with keyboards and a swaying vocal harmony, almost like a lullaby. Pappalardi in the background creates a lovely backdrop with his viola, enhancing the hypnotic and sweet effect. At 2:05, what should be the continuation of the intro occurs , with a rhythm that suddenly becomes frenetic, repeating the title countless times while the three musicians go wild in an intense jam with a somewhat Eastern feel that gradually fades away. At 3:20, the lullaby returns, and that's how it ends. It's an experimental song, but in my opinion, the drastic changes work and are interesting. It's as if they'd put "Helter Skelter " in the middle of "Good Night" on the album the Beatles were recording at Abbey Road at the time, an album that also featured Clapton as a guest. I agree, then, that it's not Cream's best song, but I don't understand the merciless criticism of this track .
Next up is “As You Said”, another experimental track with a cosmic, almost oriental feel. Papparaldi again contributes to the sound with his distorted viola, creating a kind of blend between the Velvet Underground and Led Zeppelin. However, Led Zeppelin hadn't yet debuted, so the influence of this type of track on future Led Zeppelin songs, like “Friends,” is clear. The ascending acoustic guitar, the interplay of tones, and the slow, almost breathless way Jack sings the song's title are some of the hooks that make this a hypnotic and delirious track.
The only weak point of the album is “Pressed Rats and Warthog", recited in the style of "Blue Condition" from Disraeli , features a medieval atmosphere created by flutes and brass. This Ginger "song" lacks direction and is clearly filler on the album, devoid of hooks, with dreadful lyrics (not that Bruce/Clapton's are particularly brilliant) and tedious.
"Politician" follows , another slow blues number, with a very good bass riff and a devastating drum track that, together, borders on the definition of metal at times. Beneath this great arrangement, Clapton works his magic, layering several guitars to achieve a delirious effect, especially in the solo starting at 2:05. And the lyrics this time are truly incisive, delivering a scathing critique, delivered with sarcasm, of the political class: "I support the left , though I 'll leanin ' to the right ." It's true that the riff is repetitive to the point of exhaustion, but that's compensated for by the power of the song and the superb guitar arrangements.
After Then comes “Those Were the Days”. It’s not particularly impressive, but like all songs composed by drummers (except perhaps Ringo), it’s designed to let the drummer show off with solos, fills, syncopations, and intricate rhythms, and this one is no exception. Aside from that and the bells, there’s nothing else, but Baker is one of the most influential drummers precisely because of the technique and resources he displays while keeping the beat, as in this case, rather than for marathon solos like “ Toad .” Therefore, the value of this song lies in the drumming.
“Born Under a Bad Sign” is thankfully a cover that has more than enough of what the previous version lacks: a riff worthy of a monument and a much stronger vocal harmony. Clapton also does an excellent job and this time he's truly recognizable, with those arrangements he subtly weaves between the verses, almost timidly, right up to the solo at 1:35. Perhaps not as incendiary as some of his other solos, but still quite good, with a sharp, bright tone, and a totally Claptonian style .
Disc one ends with “Deserted "Cities of the Heart", another gem from this album, boasts a breakneck pace, from the relentless guitar work (played by Bruce), to drums based on incisive syncopation, punctuated by occasional, expertly executed mini-solos , and one of Jack's most furious vocal performances . A fierce, acidic, dark, and delirious song, featuring an incredible, vibrato-laden, and unusually melodic solo at 1:50. Overall, a spectacular performance from all three musicians, making this one of the album's standout tracks and a spectacular closer.
Disc 2 opens with “Crossroads”, which is perhaps the best cover not only by Cream, but of all time. The way they take a song originally performed with a single guitar at a slow tempo and transform it into a furious rocker , with a masterful, blistering riff , brimming with adrenaline, and the triple solo at 1:28 ( the bass line alone is a gem! ) is otherworldly. At 2:30, an even more furious solo kicks in, the song steadily gaining speed and power, and at times it's hard to believe it's the same Robert Johnson song. Anyway, I could go on for hours, but this is another Cream song that should be listened to at full volume with your eyes closed to fully appreciate the gift this trio of virtuosos has given us. After “Sunshine…” and “White Room,” this is my next all- time favorite Cream song.
Then there's a massive version of "Spoonful", over 16 minutes long, with a solo that lasts more than 10 minutes. This is the beginning of the epic songs that would come to define the seventies . Take it or leave it. For many, it's impossible to endure listening to a jam for so long , unless we're talking about a jam by one of the best trios in history, so every time I listen to it, I discover something deliciously new in those alternations during the extended solo. And it's worth noting, it's one thing to extend a song pointlessly to fill empty space in a concert, and quite another to treat the music with this kind of respect, delivering improvised notes with cohesion, raising the intensity of the song together, and then lowering it simultaneously. I find this version delightful and superior to the studio version, a clear example of Cream's power live.
“Traintime” is the other side of the coin, a truly unnecessary jam , since there's no justification in the world for listening to Jack Bruce improvising on harmonica for seven minutes. And I have nothing against harmonica solos, but Bruce is merely good on this instrument, not a virtuoso. Eric takes the opportunity to smoke a cigarette backstage while he watches Ginger play the same tiresome rhythm imitating a moving train for seven minutes straight. Yawn. With so many other songs that could have shone, why this one?
Wheels of Fire definitively closes with "Toad". It has also been heavily criticized for being excessively long, almost 17 minutes. And I'm not a fan of interminable drum solos either, and it's true that if anyone is to blame for the fact that these days so many minutes are taken away from concerts by bands with drummers whose egos are inflated enough to attempt a huge, boring solo, it's Ginger Baker, and no one else. He also has some very interesting things. Depending on my mood, it can amaze me or bore me, and that's why I understand both the fans and the detractors of this track . But Baker's cymbal technique is undeniable, and it must have been an impressive spectacle live. With the great return to the monstrous riff at 15:33 and Ginger's final cymbal crashes , an impressive era comes to a close, an era in which this trio took rock to unimaginable heights. The cream of the crop of rock: Ginger Baker, Jack Bruce, and Eric " Slowhand " Clapton.
Given that it boasts some truly enormous tracks (White Room and Crossroads being the most outstanding and universally acclaimed), and on the other hand, some filler or live pieces that could be considered excessive, the album generally divides opinions: on one hand , it's overrated as a priceless gem and Cream's best. On the other, it's accused of having overly long and tedious jams in the live parts and failed experiments in the studio tracks, labeling it as a bland album that showcases a band in disintegration. I don't like either of these extremes, and I prefer to consider it the trio's second-best album, powerful at times, with some innovations, and a good example of the band's live power, demonstrating that despite the length of the songs, the level of improvisation and creativity of each member was top-notch. Thus, Disraeli Gears is, for me, the group's masterpiece; Wheels of Fire comes very close, and Fresh would be a good effort, but still very much a work in progress compared to these other two. Almost a perfect 10, but the two songs highlighted in blue are too serious mistakes to overlook this time. Even so, it's a solid album.
ByCorvan
Nov/19/2009
