LP -CREAM - DISRAELI GEARS - MONO- 1967-1st UK ISSUE

	£		31
	$		41

CHECK OUT MY OTHER DISCS. SOME HERE ON ebay UK AND SOMETIMES ON (U.S.) ebay.com

Click Here: View seller's other items 

ATTENTION ALL EUROPEANS!!  - THE EURO IS VERY STRONG AGAINST THE POUND. SEIZE THE CHANCE TO GRAB BRITISH BARGAINS!

VERY RARE BRITISH 33 rpm LP ALBUM FROM 1967

"The people who designed today's CD standard  knew that vinyl Records offered superior sound"

CREAM

DISRAELI GEARS

REACTION - 593003 - MONO

A SIXTIES CLASSIC. THIS PARTICULAR COPY IS A GENUINE FIRST ISSUE, WITH THE APPLE MUSIC/WINDFALL MUSIC MIS-CREDITS ON THE RECORD LABEL THAT WERE, ON LATER COPIES, CHANGED ONE AT A TIME TO COPYRIGHT CONTROL. HOUSED IN THE FULLY LAMINATED FIRST ISSUE SLEEVE.

Strange Brew

Clapton, Collins, Pappalardi

Sunshine of Your Love

Brown, Bruce, Clapton

World of Pain

Collins, Pappalardi

Dance the Night Away

Brown, Bruce

Blue Condition

Baker

Tales of Brave Ulysses

Clapton, Sharp

Swlabr

Brown, Bruce

We're Going Wrong

Bruce

Outside Woman Blues

Reynolds

Take It Back

Brown, Bruce

Mother's Lament

Traditional

Cream teamed up with producer Felix Pappalardi for their second album, Disraeli Gears, a move that helped push the power trio toward psychedelia and also helped give the album a thematic coherence missing from the debut. This, of course, means that Disraeli Gears gets further away from the pure blues improvisatory troupe they were intended to be, but it does get them to be who they truly are: a massive, innovative power trio. The blues still courses throughout Disraeli Gears — the swirling kaleidoscopic "Strange Brew" is built upon a riff lifted from Albert King — but it's filtered into saturated colors, as it is on "Sunshine of Your Love," or it's slowed down and blurred out as it is on the ominous murk of "Tales of Brave Ulysses." It's a pure psychedelic move that's spurred along by Jack Bruce's flourishing collaboration with Pete Brown. Together, this pair steers this album away from recycled blues-rock and toward its eccentric British core, for with the fuzzy freak-out "Swlabr," the music hall flourishes of "Dance the Night Away," the swinging "Take It Back," and of course, the schoolboy singalong "Monther's Lament," this is a very British record. Even so, this crossed the ocean and became a major hit in America as well, because for no matter how whimsical certain segments are, Cream is still a heavy rock trio and Disraeli Gears is a quintessential heavy rock album of the '60s. Yes, its psychedelic trappings tie it forever to 1967, but the imagination of the arrangements, the strength of the compositions, and especially the force of the musicianship make this album transcend its time as well

CONDITION: Note, unless stated beneath, I haven't had time to play the record

Disc: Spindle marks on labels indicate that it has been played several times but it doesn't look over-played. Still tight-grooved. Strong light reveals a lot of light surface marks of the type that come from handling and putting in sleeve etc. I didn't notice any that looked serious. I played side one and noticed bits of quiet occasional background crackle in some quieter parts and in gaps between tracks but any background noise was mainly not there or hidden by the music. Vocals and backing were mono-loud and clear with great bass and drum notes. Heavy 1967 vinyl.

Sleeve/Cover: Clarifoil type lamination on both sides, looks great with light corner wear and a few wrinkles. Needs partly re-glueing.

Although Cream was only together for a little more than two years, their influence was immense, both during their late-'60s peak and in the years following their breakup. Cream was the first top group to truly exploit the power-trio format, in the process laying the foundation for much blues-rock and hard rock of the 1960s and 1970s. It was with Cream, too, that guitarist Eric Clapton truly became an international superstar. Critical revisionists have tagged the band as overrated, citing the musicians' emphasis upon flash, virtuosity, and showmanship at the expense of taste and focus. This was sometimes true of their live shows in particular, but in reality the best of their studio recordings were excellent fusions of blues, pop, and psychedelia, with concise original material outnumbering the bloated blues jams and overlong solos.

Cream could be viewed as the first rock supergroup to become superstars, although none of the three members were that well-known when the band formed in mid-1966. Eric Clapton had the biggest reputation, having established himself as a guitar hero first with the Yardbirds, and then in a more blues-intensive environment with John Mayall's Bluesbreakers. (In the States, however, he was all but unknown, having left the Yardbirds before "For Your Love" made the American Top Ten.) Bassist/singer Jack Bruce and drummer Ginger Baker had both been in the Graham Bond Organisation, an underrated British R&B combo that drew extensively upon the jazz backgrounds of the musicians. Bruce had also been, very briefly, a member of the Bluesbreakers along Clapton, and also briefly a member of Manfred Mann when he became especially eager to pay the rent.

All three of the musicians yearned to break free of the confines of the standard rock/R&B/blues group, in a unit that would allow them greater instrumental and improvisational freedom, somewhat in the mold of a jazz outfit. Eric Clapton's stunning guitar solos would get much of the adulation, yet Bruce was at least as responsible for shaping the group's sound, singing most of the material in his rich voice. He also wrote their best original compositions, sometimes in collaboration with outside lyricist Pete Brown.

At first Cream's focus was electrified and amped-up traditional blues, which dominated their first album, Fresh Cream, which made the British Top Ten in early 1967. Originals like "N.S.U." and "I Feel Free" gave notice that the band were capable of moving beyond the blues, and they truly found their voice on Disraeli Gears in late 1967, which consisted mostly of group-penned songs. Here they fashioned invigorating, sometimes beguiling hard-driving psychedelic pop, which included plenty of memorable melodies and effective harmonies along with the expected crunching riffs. "Strange Brew," "Dance the Night Away," "Tales of Brave Ulysses," and "S.W.L.A.B.R." are all among their best tracks, and the album broke the band big time in the States, reaching the Top Five. It also generated their first big U.S. hit single, "Sunshine of Your Love," which was based around one of the most popular hard rock riffs of the '60s.

With the double album Wheels of Fire, Cream topped the American charts in 1968, establishing themselves alongside the Beatles and Hendrix as one of the biggest rock acts in the world. The record itself was a more erratic affair than Disraeli Gears, perhaps dogged by the decision to present separate discs of studio and live material; the concert tracks in particular did much to establish their reputation, for good or ill, for stretching songs way past the ten-minute mark on-stage. The majestically doomy "White Room" gave Cream another huge American single, and the group was firmly established as one of the biggest live draws of any kind. Their decision to disband in late 1968 — at a time when they were seemingly on top of the world — came as a shock to most of the rock audience.

Cream's short lifespan, however, was in hindsight unsurprising given the considerable talents, ambitions, and egos of each of its members. Clapton in particular was tired of blowing away listeners with sheer power, and wanted to explore more subtle directions. After a farewell tour of the States, the band broke up in November 1968. In 1969, however, they were in a sense bigger than ever; a posthumous album featuring both studio and live material, Goodbye, made number two, highlighted by the haunting Eric Clapton-George Harrison composition "Badge," which remains one of Cream's most beloved tracks.

Clapton and Baker would quickly resurface in 1969 as half of another short-lived supergroup, Blind Faith, and Clapton of course went on to one of the longest and most successful careers of anyone in the rock business. Bruce and Baker never attained nearly as high a profile after leaving Cream, but both kept busy in the ensuing decades with various interesting projects in the fields of rock, jazz, and experimental music.

VIEW MY FEEDBACK - BID WITH CONFIDENCE

THE PHOTO IS OF THE ACTUAL ITEM YOU WILL RECEIVE

ANY QUESTIONS PLEASE EMAIL ME 

POSTAGE & PACKING - All records are posted in a proper  mailer with stiffener. Note - this item is located in The United Kingdom of Great Britain and Northern Ireland - UK see below..........

EUROPE Airmail £4.81.  Europe includes Russia, Turkey, Azerbaijan, Georgia...(NOT the USA state), Kazakhstan, Kyrgystan, Spitzbergen, Turkmenistan and Uzbekistan

REST OF THE WORLD (Including USA) - Airmail £6.94 Surface Mail £4.26. NB. Surface mail travels by ship so will take several weeks to arrive, I usually invoice Airmail. If you prefer Surface mail, please ask. 

Items are posted at your risk. If you require extra services please enquire before bidding. UK buyers may be able to initiate a compensation claim from Royal Mail up to a value of £32 (at the time of writing). I usually keep proof of posting and I shall be pleased to provide this if requested.

This item is described in good faith and has a low starting price to reflect the fact that it is not in brand-new condition (unless stated). I would not usually consider a refund but please do not hesitate to contact me if you have any queries or problems

PAYMENT - I accept PAYPAL from any country. I'd be grateful for payment within 3 days of invoice please.

UK - I will also accept cheques (allow time to clear) and Postal Orders. If you want to pay by any other method please contact me before bidding.

EUROPE & REST OF THE WORLD (including USA) I will also accept Bankers Drafts and International Money Orders drawn on a UK bank in GBP - Pounds Sterling. If you want to pay by any other method please contact me before bidding.

THE TRUTH ABOUT VINYL RECORDS VERSUS CDs
"The people who designed today's CD standard twenty years ago knew that
vinyl Records offered superior sound"

THE DAY THE MUSIC DIED - THE DIGITAL DISASTER
"Digitalization kills music stone dead. It is music with the heart and soul ripped out of it.
It is genetically-modified music, throwaway music for the throwaway age"

SALES OF VINYL RECORDS ARE MAKING A COMEBACK IN BRITAIN
"Industry officials say indie and rock fans are buying vinyl in droves,
British album sales are up 87.3 percent compared to the same period last year."

FANS STAY TRUE TO VINYL RECORD FORMAT
"Record fans see vinyl in a different light. Vinyl records are lasting works of art.
People who sold their old records are kicking themselves for it now."