RARE MONO Mixes CREAM DISRAELI GEARS = Clapton Hard Psych SUNSHINE OF LOVE

$

125

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1. • ORIGINAL 1967 (((MONO))) FIRST PRESS ..|/\|...............................................|/\|..
   1. "CREAM"
   DISRAELI  GEARS
   
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   • USA - (TAN, WHITE, GREY) ATCO - 33 232 (MONO)
   
   
   MAJOR RARE, SOUGHT AFTER 1967 MONO PRESSING of the forever highly collectible investment item CREAM ~ "Disraeli Gears" with original MONOPHONIC bold deep grooves....
   
   This is a 55 years ago highly scarce (((MONO))) MIXES first print issued in 1967 and was SO soon to be deleted when record companies no longer issued MONO pressings by the end of 1967 in favor of the stereophonic enhancements ... sounds like a decision eBay would make ... in the same without realizing the bold MONO format and originality of the recording remains as a preferred option in so many cases.
   
   Contains the original printed Atco inner sleeve to the pressing
   
   Still holds up, after 55 years, the classic CREAM album, filled with psychy wah-wah Clapton guitar mixed in melodic power infused tunes...
   
   The album was a huge, Top 5 success on both sides of the Atlantic, transforming the shape of rock music, which still draws deeply on its power-trio innovations.
   
   Recorded in the U.S. in a three-and-a-half day flurry of inspired activity before the band members' visas expired, DISRAELI GEARS continued to present the legendary, unprecedented rock power-trio acrobatics pioneered by Cream on their debut FRESH CREAM. The acronymic "SWLABR (She Walked Like a Bearded Rainbow)" for instance, featured some of the band's most fiery instrumental interplay. The album, with its eye-catching day-glo cover, was produced by Felix Pappalardi (who went on to co-found the Cream-inspired Mountain) and once again featured collaborations between singer/bassist Jack Bruce and lyric poet Pete Brown. The Top Five hit "Sunshine Of Your Love," however, was written by Brown and Eric Clapton. That iconic riff-rocker, along with the slinky, bluesy "Strange Brew," and the mythographic, wah-wah stomper "Tales of Brave Ulysses" was a staple of rock radio forever after, making DISRAELI GEARS one of the seminal '60s rock albums. Despite the good humor suggested by the jokey a capella reading of "Mother's Lament," however, all was far from peace and love in the Cream camp at the time, as internal and external pressures broke up the band by the end of 1968.
   
   [VINYL side 1]
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3. Strange Brew (Eric Clapton/Gail Collins/Felix Pappalardi)
   
   Eric – lead & solo guitar, lead vocals, harmony vocals; Jack – bass; Ginger – drums; Felix – harmony vocals.
   
   Some further comments on a recording that is available in its development process:
   
   The basic harmony is written to suit (of the group MOUNTAIN) Felix Pappalardi’s falsetto style, who provides some of the harmony vocals on the chorus, but Eric makes a good fist of it, which is the harbinger of things to come. The creative process of this rock song is a perfect example of the plundering of Black American music in the creation of the Pop/Rock music industry. However, Eric largely tried to ensure correct crediting of songs, and payment of royalties, unlike the record companies and managers.
   
   Sunshine of Your Love (Jack Bruce/Pete Brown/Eric Clapton)
   
   Eric – lead guitars, lead vocals; Jack – bass guitar, lead vocals; Ginger - drums
   
   A Rock Music monster: a song that launched a million guitarists, bass players and drummers all over the world. The heavy riff was born with the Kinks’ ‘You Really Got Me’, but ‘Sunshine’ brought it of age. ‘Got Me’ has one guitar/vocal riff where Sunshine has three: the guitar/bass, the vocal chorus and the drum pattern. It is the combination that absolutely hooks you.
   
   Its genesis was at the end of a less than fruitful, night long, song writing session with tempers fraying: Jack leapt up and started playing the riff on his acoustic bass, Pete looked out the window and the lyrics started flowing (see how much sense they really make now, after this anecdote!). Based on the strength of the recording, they had been working on it for a while.
   
   The recording is uncomplicated, well balanced with minimal overdubs. Opening with guitar and bass performing the riff in unison, but not identically, then joined by the drums back-beat pattern. Jack then Eric take alternate verses and harmonise on the chorus. Eric’s superb note rich, high distortion overdubbed solo just launches (quoting "Blue Moon") without bursting in. It then ends with a return to the riff for a few bars before vocals (excellent production with the solo replacing the vocals then ending to reestablish the riff before recommencing the vocals – perfectly balanced transition). It finishes with the fade out jamming. They don’t come any better!
   
   When released, this was the break through single in the US. While it initially only reached 36 (in mid 1968 it returned to reach 5) it did get air play and was noticed by those who could hear, including lots of their US peers (Jimi Hendrix regularly played it live). Its success was critical for the hugely successful touring in 1968 and the sales of Gears
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6. World of Pain (Gail Collins/Felix Pappalardi)
   
   Eric – lead & rhythm guitar, lead vocals; Jack – bass guitar, lead vocals; Ginger – drums.
   
   In a word wah wah – the effects pedals first appearance on this album as Eric counterpoints to his bar chord rhythm line. Jack does the alternate verses in falsetto with Eric joining him on the chorus. Eric does a multi-dubbed solo break and ending fade out. The song is pretty routine, especially the lyrics, and not really suited to Eric’s voice having been written to suit Felix’s falsetto. It strengths are the excellence of the production and Eric’s guitar work.
   
   Dance the Night Away (Jack Bruce/Pete Brown)
   
   Eric – lead & solo guitars, harmony vocals; Jack – bass guitar, harmony vocals; Ginger - drums
   
   Opens with Eric’s ringing 12 string guitars, backed by cymbals. Jack and Eric sing the whole song in harmony with Ginger propelling it through a series of climaxes. A mature peformance, especially Eric’s guitar overdubbing, that would not have been out of place on ‘Wheels of Fire’.
   
   Blue Condition (Ginger Baker)
   
   Eric – lead guitar & solo guitar; Jack – bass guitar, piano; Ginger – drums, lead vocals
   
   Disappointingly Ginger’s only composition is a mundane slow blues (or dirge?). The only saving grace of this filler is the incongruity of Ginger’s monotone vocals, which proves that anyone can have a go.
   
   [VINYL side 2]
   
   Tales of Brave Ulysses (Eric Clapton/Martin Sharp)
   
   Eric – lead & solo guitars; Jack – bass guitar, lead vocals; Ginger - drums
   
   Opens with a group entry (guitar & bass sustained note, cymbal/toms), then descending bass figure for two bars, then joined by warm rippling wah wah guitar for another two, then the initial verse and all backed by shimmering cymbals – a truly heroic beginning for an epic musical voyage.
   
   The masterful wah wah guitar and deep bass* playing the descending chords, with the rolling drum patterns, are over laid by one of Jack’s finest vocal performances. Eric’s lead breaks are simply magnificent. They’d been working this up for a while.
   
   This is one of those ‘one-in-a-lifetime’ songs that songwriters dream of and, thankfully for us, it was only the start for Eric. The poetic lyrics of Australian artist Martin Sharp, while unquestionably ‘tripy’, stand the test of time in the context of the song. Eric shows his maturity by the ‘group’ introduction, which relies heavily on the bass guitar but also, perhaps, his insecurity by handing the vocals to Jack. His decision was entirely correct and shows how truly inspired he is.
   
   * The full bass sound (compared to the higher sound of the Fender six string) of Jack’s new Danelectric longhorn is used to full advantage
   
   SWLABR (Jack Bruce/Pete Brown)
   
   Eric – lead & solo guitars; Jack – bass guitar, lead vocals; Ginger - drums
   
   Eric’s woman tone, much cleaner on the Gibson SG, is heard to superb effect. Ginger’s always varying rolling drum patterns are worth the price of admission alone. But what does the title mean? – She Was Like A Bearded Rainbow.
   And what does that mean? Think about looking up into the light with someones head in the way - a rainbow effect but with a beard! Don't read too much meaning into Pete's lyrics.
   
   We’re Going Wrong (Jack Bruce)
   
   Eric – rhythm & solo guitars; Jack – bass guitar, lead vocals; Ginger – drums
   
   This is basically a duet between Jack and Ginger in 6/4 time and sounding like it was written with/for bowed cello. Eric plays bar chords plus a short, appropriately atmospheric, solo. How daring if Jack had done the solo on bass? Ginger’s superb drum patterns on the toms, using felts, are just mesmerizing as counterpoint to the vocals. Only the very best can pull off a song/performance like this - it really belongs to Ginger.
   
   Note: this is the other song Ginger believes he should have received co-composer credit (check out BBM's "Why does love (have to go wrong)")
   
   Outside Woman Blues (Arthur "Blind Willie" Reynolds)
   
   Eric – lead & solo guitars, lead vocals; Jack –bass, humming; Ginger - drums
   
   Sounds like an early session song – a blues. Felix makes it a solid filler by using Eric’s new guitar sounds and developing technique (distortion, sustain, bends, finger vibrato, extra notes). Eric’s vocals show his continuous ability to grow/change/regenerate. After listening to it (several times) for this review, it’s really crawled into my brain – better than I originally thought!
   
   Take It Back (Jack Bruce/Pete Brown)
   
   Eric – rhythm & lead guitars, vocals; Jack –bass, lead vocals, harmonica; Ginger - drums
   
   Sort of a jump blues with overdubbed audience sounds for ambience. Jack takes the solo on harp. Its not great but it swings.
   
   Mother’s Lament (Traditional Arrangement Cream)
   
   Eric - harmony vocals; Jack – piano, harmony vocals, Ginger - harmony vocals.
   
   A traditional Cockney music hall song (or ditty) - incongruous in this context but hey its acid days!
   
   
   
7.                  CONDITION:
8. 
   
9. The cover: rated: VG++ the thick cover has only a little light previous use, slightly around edges -- nothing at all extreme, highly collectible! There is a small hard to notice delete drill at bottom right cover due to the MONO format original mixes being deleted by end of 1967 ... Remember, this is a cover that is HIGHLY prone wear and still better than most originals if found. The seams are strong, no bends and no writing...bright colors, very collectible from some 55 years ago...
   
10. SO hard to find this (MONO) cover clean

1. The vinyl: Rated: VG++ both sides play very nice in OUTSTANDING MONO few light top surface visuals are noticeable, though nothing deep and plays very enjoyable as a keeper collectible on the future value rise to be sure - yes, play grade with solid punchy-mono  audio  ... Both sides of grey tan & white ATCO mono labels are CLEAN