Cream - Wheels of Fire
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Free Music Notes for Wheels of Fire
Free Music Review: An album worthy of a super-group. Highly polished & very English
Hit: 5 Stars
It was with a great deal of reluctance that I explored Cream's albums, seeing as I was never a huge fan of the songs that I did hear on commercial FM radio over here in Australia, plus the fact that only two of their songs ever get played here. The first album by Cream did nothing to overturn my prejudice against this. Their second album wasn't bad. "Wheels of fire" is a five star album in my view. It's highly polished album orientated blues rock, with an endearing "English-ness" about it...something that "Disraeli gears" lacked, I think, despite it being their most lauded album, appearing on the tv series "Classic albums". Of Cream's first three albums, it is "Wheels of fire" which is most worthy of giving rise to the "super-group" moniker which the band usually gets attached to it.
Anyway, here are my picks as the best songs on the album, plus the rest:
The best:
White room - this is one of the two Cream songs that you will hear on classic pop/rock stations in Australia. The other song is "Sunshine of your love". This track has good, subtle drumming and a distorted, sort of heavy metalish guitar sound, and there is a good lead guitar solo too. The riff sort of reminds me of Lynyrd Skynyrd's "Sweet home Alabama", which came after it.
Pressed rat and warthog - to me, this song seems to be a natural progression from the last track, I think, on Disraeli Gears, "Mother's lament". I really like this song for the same reason that I really like the opening track on The Sex Pistols' "The great rock'n'roll swindle" album, which features Malcolm McLaren doing a spoken word fairytale on how he invented punk music. In other words, both songs appeal on a childish level...listening to a soothing bedtime story read by someone with a soothing voice. Here the story is of the absurd kind, which the English are fond of-perhaps you could also characterise the lyrics as 'psychedelic'. The brass in this song is pretty, and some of the sounds/instruments are intriguing...perhaps the flute is included, and there is a certain mediaeval qquality to the sound, though the track does have a light rock accompaniment.
Those were the days - has fantasy lyrics, a theme that Led Zeppelin would mine in its later works. This is a pop/rock song with good drumming and is bassy too. Also has pretty bell sounds too...not unlike that found the opening theme to the US cartoon series "Futurama". Lyrics feature the word "Ocharina", which looking it up now means a musical instrument, but I associated it with a video game of a fantasy nature, but even if this is not a fantasy reference, the rest of the song does have that quality to it though...a longing for times past.
Deserted cities of the heart - has a deep bass and some of the guitar work reminds me of Stealers Wheel's "Stuck in the middle with you". Some of the vocal melody also reminds me of the song which features the lyrics "It's alright, well alright"...but I can't remember the song act/title...might even be a Cream song, in which case that might be three Cream songs you hear on Australian radio where I live! Good drumming in this song and a violin also features...maybe a cello too. There is a squealy lead guitar solo too.
As you said - another song featuring the cello or similar bassy instrument (double bass perhaps?). Has accoustic guitar and steel string accoustic guita by the sounds of it. A mellow song with sparkling guitar work and an Indian style accent.
Passing the time - a pretty, mellow track for bookends, which works well as a lullaby kind of song (The Red Hot Chili Pepper's song "Porcelain" is also a song that works well as a lullaby, but not as a pop/rock song). The middle part of this song is more hard rock, with slapping drums and a driving rhythm with the bass guitar. Also features a glassy percussion effect and the vocal melody sounds familiar...perhaps from the Sesame St childrens' tv show, for the song "Inchworm".
Born under a bad sign - the above songs have been slowly getting weaker, and this is the weakest song of the ones I like. The lyrics are fun...a blues song which gently mocks the genre. Cream sort of does to the Blues, what Monty Python did to those pub stories which start with "I was so poor that...". A deep bass sound with more squeaky, distorted lead guitar sounds featured. A good addition to the blues genre in any case.
The rest:
Politician - Cream get political on this song. It's a sleazy, bluesy, carnival type of song, with a cynical outlook towards those we elect. This song put to mind the story of "The Profumo Affair", which I had heard about when the movie "Scandal" was advertised some years back. Just looking up Wikipedia now, it does seem to have happened before this song was written, so perhaps 'inspiring' this song. Features dual lead guitars and a bassy drum...double bass drum, perhaps?
Sitting on top of the world - a laid back, bluesy track with squeaky and distorted lead guitar and a noticeably bass sound.
CD 2 -
I'm giving the first cd five stars. The second cd is a different animal, and if you enjoy it, you will probably like their first album, which this cd expands on...to gargantuan proportions. E.g. "Spoonful" and "Toad" are roughly tripled in length to over a quarter of an hour each. These four songs take up 44:22 minutes! If you like blues music by white guys, I think you will like this second cd. Personally, I drifted off for "Spoonful" on the two occasions that I listened to this song! It has an epic Moody Blues vibe to it. "Toad" didn't send me off to sleep, despite its similar length. If you are of the school of thought that says that the only thing better than a three minute drum solo is a 13 minute drum solo, then I think you are going to love "Toad"! Cream jams either side of Ginger Baker's gargantuan drum solo. In my notes for this song I state that I hear what sounds like Michael Jackson's "Beat it" guitar riff playing on the bass in this song (at around the 0:55 mark). Also familiar sounding to me: at around 0:52 minutes into this song, the guitar plays something akin to The Stooges "I wanna be your dog" riff or whatnot. Anyway, the sound quality of the live 2nd cd is excellent.
"Wheels of fire" is not just a great Cream album, it's a great album full stop. I'm not convinced that "Disraeli Gears" is anywhere in this album's league. A marvelously English album.
Free Music Review: "CREAM EXPLODES!!!!!"
Hit: 5 Stars
Yes. I am still at this farm in Michigan. Why? Becaue I have promised myself to stay here for peace and quiet while I review the Cream albums. But, tragedy struck again. Seems Bossy (the cow) somehow ate up all of Metamorpho's food supply and I had to walk 30 miles to the nearest food store. (Magic Seer's carpet was in for repair), So I set out and realized that I had left my fur-lined Seer's cape at home when a snow storm surprised me on the way. Luckily, a man in an old Dodge pick-up truck picked me up and gave me a ride. Amazingly, he recognized me and, for the price of an autographed picture, gave me a return trip! What luck! But, I suppose for being spiritual (and a friend of the Universe), one is entitled to such perks. Nevermind all that. Cream's EXCELLENT "Wheels of Fire" awaits us all.
I must elucidate on these reviews. They are done, not only because the band is so reknown, but to explain why they are so. Positively, in the psychedelic sense, they progressed and moved the music into more formidable areas. What is so amazing is that they made this double c.d. set to show you what they are capable of in the studio- and live! And this shows you the real talent behind this band. Not only could they construct inticate landscapes and unknown terrain in the studio-but also be mega as far as live recording. This was confidence of the highest order. And it shines through miraculously.
What do we have here exactly? We have Cream adhering to their "traditional" blues roots. On the first part they tackle Howlin' Wolf's excellent "Sitting On Top of the World" as well as "Politician" which is the best Howlin' Wolf song not written by Howlin' Wolf (accolades to Jack Bruce on this one). "Born Under a Bad Sign" also reflects the blues-but in a more controlled and upbeat fashion. Definitely superb! The second part-needless to say, extends blues in live fashion and never lets up. The jams, the leads, are to die for (I hate to be banal but even Metamorpho has laspes sometime).
I can not say enough about Jack Bruce on the first part. Superb songwriting and construction. He extends himself to bleak areas. "White Room", although pristine, gets soiled by disappointment. The lively riff is juxtaposed against feelings; and especially lines like "where the shadows run from themselves" are as vivid and unique and understood as being exemplary. "As You Said" employs his wonderful acoustic guitar (with cellos!) and interesting construction insofar as chords and keys. What are they Jack? Sharps and flats I am sure, but maybe 5ths, 9ths, and sustained? This is his songwriting. Other-worldy and quite a marvel. "Deserted Cities of the Heart" has a little of this added as well. Ginger Baker adds his unusual "Pressed Rat and Warthog" (a talky piece with horns even alternately between two chords!). But, recovers and proves himself with "Those Were the Days". The best Jack Bruce tune not written by Jack Bruce.
On part two we have his blues jam "Traintime". Can almost imagine the train click-clacking along with this harmonica inspired number. We also have Ginger Baker's wonderous drum solo again in "Toad". Much better than the original studio recording, if you ask Metamorpho. "Spoonful" is much more precise and measured. A true joy. But, then we get to the "core" of exhileration. "Crossroads", in itself, is worth the purchase of this classic c.d. Clapton's lead transcends human boundaries (and, when listened to loud, will bounce you off the walls! Just as it has done to your beloved Seer since he listened to it many Seer moons ago!). This, I feel, was the peak of Clapton's power. Yes. He certainly has done many other excellent things ("Wonderful Tonight" just doesn't even compare to this). But, as raw live power- nothing rivals this, except Jimi at his finest. Take my word.
In short (!) a classic double album by one of the very best. And do remember that the cover (which your Metamorpho has tried to embed himself in and has gotten bounced out each and every time) reflected like sheer aluminum. How sad the times have compromised true value. But, you always have imagination. So says Metamorpho.
Like to thank T and Johnny L for their support. After all, they are better than absent guides in the long run.
So. That's it. One more review and I'm out of this Michigan farm. For Cream reviews, farm living is the place to stay- but I get allergic smelling hay. Ah. So it goes.
To all who support Metamorpho-your check is in the mail.
To those who don't-a check to the homeless shelter.
Have fun!
Bossy packs a mean hoove lead!
Free Music Review: Look To Wheels Of Fire To Capture The Zenith Of Their Power
Hit: 5 Stars
Consisting of one entire disc of studio material and a second disc culled from Cream's 1967 American tour, Wheels of Fire presents two dramaticly different views of the quintessential power trio. Beginning with White Room, a tour de fource electric blues classic, Cream leaves no doubt as to their virtuosity and improvisional skills. They also pay homage to Chester Burnette AKA Howlin Wolf on Sitting On Top of The World and cover Albert King's Born Under A Bad Sign. Both are deftly rendered with Cream's unique blend of electric blues and psycedellic soul. Then there's Passing The Time, Pressed Rat and Warthog, Those Were The Days, Deserted Cites of The Heart and As You Said, all Pete Brown/Jack Bruce orginals. Brown and Bruce form one of the sixities/early seventies most unique and orginal song writing teams. Brown's strange and surreal lyrics create a world where wathogs sell amplified hate and Pressed rat's collection of dog legs and feet. After Cream disbanned in 1968, they joined together for Jack Bruce's Songs For A Taylor, one of the most underated albums of the golden age of rock. The Live disc consists of the Willie Dixon's blues classic Spoonful, (the UK release of Fresh Cream contained a studio version) and only three other selections. Crossroads is one of the rare opportunities for Clapton to step into the spotlight and demonstrate his vocal prowess. He was very shy to do so at this stage of his career, particularly on the concert stage. But here he delivers a confident and soulful reading of the Robert Johnson classic. Traintime is perhaps the only performance ever, (or at least as far as I know) of a harmonica and drum duet. Ginger Baker and Jack Bruce wail through twenty odd minutes of frantic "giddy up traintime" maddness. Then there's Baker's drum solo to end all drum solos. In the sixities and early seventies a concert performance, by any rock band worth their salt, had to include an extended drum solo. There were some great ones that readily come to mind, Soul Sacrafice by Santana at Woodstock, Moby Dick a great John Bonham solo by Zeplin and the duel percussion attack by Jaimo and Buth Trucks on the Allman Brother's Mountian Jam. But for sheer stamina, creativity and all out balls, Toad wins hands down. Baker was the first to create a twin base technique and here he demonstrates his virtuosity in delivering an incredible two-footed base performance that defies human capabilitiy. Ginger Baker is the most inventive and dynamic drummer ever to beat a skin in the rock world. As musicians, all three members of Cream are artists of the highest caliber and for a short while delighted the world with their creative genius and improasational skill. Look to Wheels Of Fire to capture them at the zenith of their powers.
Free Music Review: Look To Wheels Of Fire To Capture The Zenith Of Their Power
Hit: 5 Stars
Consisting of one entire disc of studio material and a second disc culled from Cream's 1967 American tour, Wheels of Fire presents two dramaticly different views of the quintessential power trio. Beginning with White Room, a tour de fource electric blues classic, Cream leaves no doubt as to their virtuosity and improvisional skills. They also pay homage to Chester Burnette AKA Howlin Wolf on Sitting On Top of The World and cover Albert King's Born Under A Bad Sign. Both are deftly rendered with Cream's unique blend of electric blues and psycedellic soul. Then there's Passing The Time, Pressed Rat and Warthog, Those Were The Days, Deserted Cites of The Heart and As You Said, all Pete Brown/Jack Bruce orginals. Brown and Bruce form one of the sixities/early seventies most unique and orginal song writing teams. Brown's strange and surreal lyrics create a world where wathogs sell amplified hate and Pressed rat's collection of dog legs and feet. After Cream disbanned in 1968, they joined together for Jack Bruce's Songs For A Taylor, one of the most underated albums of the golden age of rock. The Live disc consists of the Willie Dixon's blues classic Spoonful, (the UK release of Fresh Cream contained a studio version) and only three other selections. Crossroads is one of the rare opportunities for Clapton to step into the spotlight and demonstrate his vocal prowess. He was very shy to do so at this stage of his career, particularly on the concert stage. But here he delivers a confident and soulful reading of the Robert Johnson classic. Traintime is perhaps the only performance ever, (or at least as far as I know) of a hermonica and drum duet. Ginger Baker and Jack Bruce wail through twenty odd minutes of frantic "giddy up traintime" maddness. Then there's Baker's drum solo to end all drum solos. In the sixities and early seventies a concert performance, by any rock band worth their salt, had to include an extended drum solo. There were some great ones that readily come to mind, Soul Sacrafice by Santana at Woodstock, Moby Dick a great John Bonham solo by Zeplin and the duel percussion attack by Jaimo and Buth Trucks on the Allman Brother's Mountian Jam. But for sheer stamina, creativity and all out balls, Toad wins hands down. Baker was the first to create a twin base technique and here he demonstrates his virtuosity in delivering an incredible two-footed base performance that defies human capabilitiy. Ginger Baker is the most inventive and dynamic drummer ever to beat a skin in the rock world. As musicians, all three members of Cream are artists of the highest caliber and for a short while delighted the world with their creative genius and improasational skill. Look to Wheels Of Fire to capture them at the zenith of their powers.
Free Music Review: One of the All-Time Greatest Rock Albums
Hit: 5 Stars
Cream's last really deliberate effort in the studio, Wheels of Fire stands out as one of the all-time greatest rock albums, and one of the top ten albums of the sixties. Driven by the singles, "White Room" and "Crossroads," this was Cream's first and only number one album and the first album to be certified platinum, ever. Somewhat less coherent than Disraeli Gears, due to the increasing division between the band members, Wheels of Fire could be called Cream's White Album, showing the band moving off into separate directions with their respective writing partners and turning up with some surprisingly different, innovative and original songs. More melancholy and introspective than Disraeli Gears, Wheels of Fire jams less and grooves more, particularly on the ever topical "Politician" and the super precise "Sitting On Top of the World." Other songs seem like more of a throwback to Fresh Cream, the dreamy "As You Said" and "Those Were the Days" in particular. The cello-accented ballad, "Deserted Cities of the Heart," is one of Bruce and Brown's best, and there's more than a touch of strangeness in Baker's amusing and quaint recital of "Pressed Rat and Warthog." Eric, sitting out on the song-writing for a while, makes sure that no one completely forgets the blues, contributing arrangements of "Born Under A Bad Sign" and "Crossroads." On the second disc, the live material, as usual, is where Cream really shines. It seems as if they picked one song to showcase each band member, then chose the classic "Spoonful" to highlight them all. The instrumentation is even more magnificent than ever, showing incredible precision from all the members, especially Baker, whose drum solo on the live version of "Toad" is the only drum solo I've been able to tolerate, let only enjoy. "Crossroads" shows Clapton's soloing at its best, and "Traintime" features Bruce nearly passing out during a seven minute blues harp marathon. Listening to him gasp for breath near the end, yet keep on singing and playing, is to witness an inspiring sacrifice from an artist truly willing to suffer for his art. Cream's best album really could be considered a toss up between this one and Disraeli Gears, but I favor this one marginally because there's not a single slipup included.