Disco de Cream: “Royal Albert Hall London May 2-3-4-5 2005”

... than before. Cream was always one of those shizoid bands: studio efforts overdubbed, well produced psychedelia, live shows a tsunami of three soloists having a go at it simultaneously on an Anglo-blues catalogue. Here, for the first time I can remember hearing, they play more like a BAND. There is a locked in cohesion to this show that was never present before, as you can clearly hear when you compare this to the farewell show from '69. These three coined the cliche "supergroup" and were known for playing with a ferocity fueled by their competitive egos. Perhaps as age has slowed them all down and as time has taken its toll on them and their colleagues, the notion of working more in step with each other brings more significant rewards.

It certainly does to the material. Their take here on Willie Dixon, Booker T Jones, Skip James and T-Bone have all the swagger of the masters and less of the youthful unrestrained testosterone of the late 60's. "Born Under a Bad Sign" and "Spoonful" would make their authors proud. "Badge" suffers from Clapton having so thoroughly redefined it with his band that it seems nothing but perfunctory here. However, Baker's bizarre reading of "... Wart..." is so weird that it seems to have gained in its spooky evocation of something both Dickensian and psychedelic. In the case of each of the musicians, they are clearly listening to each other and playing better as a unit than you would ever have any right to expect. There is a supple pwer and subtlety to how integrated they are in each other's rhythms that is inspiring. Given the mediocrity of Clapton's BACK HOME, this is a delightful return to form. He isn't the GOD that he was on Cream's first surfacing, but that was just another way of clotting the music from flowing. All the years have served each of them well. They have not just not missed a beat (still with me?), they're actually a much better band.

The DVD is spectacularly shot. It is the kind of rock film Martin Scorcese would shave his bushy eyebrows for. Miraculously, Baker has survived well. Bruce looks almost as old as Steve Howe, and Clapton is amazing. It is a joy to watch their technique as they play. This really was a brilliant coda that eclipses the original legend. There is much to celebrate on both CD and DVD here. Enjoy!

A review I read about the Live CD's of Cream in the 1960's not inspiring, well I can say to you, "Cream's reunion 2005 DVD". I can not stop watching this performance, it is so outstanding. Eric Clapton's fantastic guitar work during this reunion is inspirational, and is essential listening to any Cream or Eric Clapton fan.

Eric, with original members Jack Bruce and Ginger Baker performing like the superstars of old, rock the Albert Hall to the delight of thousands who were fortunate enough to be there. For us, the unlucky, this great 2 DVD Set can be ordered, and when played on a surround sound/ big screen system, this show comes alive. With outstanding editing, a high quality soundtrack, excellant near HD quality picture, this concert is at the top of my top ten list. This DVD sets the standard for outstanding music DVD videos.

Thank God they did this (and I DON'T mean Eric Clapton!). Cream was captured live on audio very well in 60's but the only live video is the execrable "Farewell Concert" (which you can totally forget about). This video captures the band in fine form...they are as good as they were in the 60's which is astonishing when you consider the passage of years. Jack Bruce drives Eric Clapton to levels we haven't seen since 1969 and it reminds us why he was referred to as God in his heydey. Cream plays virtually every song in their catalogue (even "Pressed Rat and Warthog"!) and, if that wasn't enough, they add a NEW Cream song to the canon, a superb "Stormy Monday" sung by Eric Claption. This is one of the best videos in my collection and I treasure owning it. I wish something more had come out of this one-off reunion but I'm very happy that they got this right!

In 1966, Cream spearheaded the first wave of the British rock invasion and revolutionized the concept of the power trio. Their brief career, lasting only three years, left a musical legacy that exists to this day. Cream standards such as: "Sunshine of Your Love" (track 19, encore), "Crossroads" (track 15), "White Room" (track 17), and "Badge" (track 8) grace the classic rock airwaves from coast to coast daily. Their live show set the standard for rock concerts for decades to follow. Ginger Baker was one of the first to incorporate double bass drums, extra toms and cymbals into a now familiar kit that would be imitated by a generation of rock drummers. Jack Bruce, schooled as a classical cellist, showed that a Marshall stack was not only for guitarists, and changed the role of the electric bass forever. Eric Clapton went on to become the preeminent blues-rock guitarist of our times.

For those of us who remember Cream, their 2005 reunion, culminating in a four night engagement at London's Royal Albert Hall stirred anticipation from bar room to board room. For others too young to remember, this reunion is a heart warming lesson in the bonds of friendship, and musical mastery. Producers John Beug and James Pluta captured the best of Cream's set in a two-disc DVD package that no fan, young or old can afford to miss. The package and accompanying song list resembles a flower-powered, psychedelic painted Volkswagen bus. Yet this cosmetic debauchery cannot mask the sound and visual artistry within.

The 19-song set, consisting of mostly Cream hits, and a few blues covers (with three alternate takes) highlights the second, third and final nights' performances. Brief, interviews of all three band members, round out the package. Although oscillating from show to show disrupts the continuity of watching one performance from beginning to end, this tactic is not too annoying. The producers wisely chose to utilize the three-way split screen effect sparingly. Audience shots and brief views of the inner bowls of the historic Royal Albert Hall are weaved together, and inserted tastefully. Yet it is the honesty and integrity of the musicians on stage that leave the viewer spellbound and breathless.

The band opens with an awkward rendition of their hit "I'm So Glad." Bruce, shorter than we remember, dons a beautiful red mahogany vintage Gibson EB-1, the violin-shaped bass popularized by the late Felix Pappalardi of Mountain. Bruce will play this instrument for half the DVD, before switching to a fretless Warwick, his axe of choice in recent years. Clapton, wearing brand new, off the rack denims and "Wallabies(?)" looks scruffy in a four-day growth of beard. Baker, the oldest of the three at 66, wears jeans (rolled up to the knee, an old trademark) Cream tee-shirt, and a pair of Oxfords in dyer need of a shine. He looks more like one's grandfather, than a rock legend. Beautiful A cappella vocal harmonies by Clapton and Bruce in the bridge, soon remind the audience, that despite outward appearances, the old Cream magic is still there.

Bruce's crisp vocal range, responsible for Cream's distinct sound, is quite evident in Willie Dixon's "Spoonful" (track 2). Originally running over six minutes, this piece exhibits the band's standard formula built upon a riff, and basic blues progression. Clapton's long, soul searching guitar solo, backed by improvisational jamming and thunderous rhythms by Bruce and Baker, provide the template for "Politician" (track 8), "Born Under a Bad Sign" (track 13), and "Sitting on Top of the World" (track 16).

Clapton's slow hand is surely felt on Arthur Baker's "Outside Woman's Blues" (track 3), and T-Bone Walker's immortal "Stormy Monday" (track 11). Bruce blows a mean blues harp, and gets the normally subdued London audience dancing in the aisles with Muddy Water's "Rollin' and Tumblin'" (track 10). Nicely arranged vocal harmonies between Bruce and Clapton on Bruce's own "Sleepy Time Time" (track 5) provide one of the show's highlights.

Bruce's unique song writing, arrangement, and singing styles are further evident in "We're Going Wrong" (track 14), "N.S.U." (track 6), and "Deserted Cities of the Heart" (track 12). Baker's less known writing contributions are displayed in "Sweet Wine" (track 9), while "Pressed Rat and Warthog" (track 4) is resurrected in Baker's gruff deep baritone speaking voice. It is on "Toad" (track 18), the compulsory drum solo, where Baker confirms he is still the founding father of rock/jazz drummers. This solo is breath-taking, meticulous, and never is a misjudged rim shot or stick clashing in mid-air to be heard. At 66, Baker unequivocally reaffirmed his place at the pinnacle of his profession.

There are several moments of pure fun, on stage. "You're just trying to make me nervous," declares Baker, after Clapton introduced Peter Edward Baker, before "Pressed Rat and Warthog." Bruce smiles broadly at Baker, for following his up-scale bass line with machine-gun tom-toms, and both miraculously came back in time. Then, Bruce and Clapton acknowledge a smile and a nod after a satisfying performance.

There are slight imperfections as well. In "Sunshine of Your Love" (alternate take), Clapton starts to sing a verse too early, as Bruce glances over and smiles forgivingly. Bruce, likewise misses a bass cue in "N.S.U.", and more than once, Baker finishes a drum roll two early, and waits motionless for his band mates to catch up. One critique is the slower tempo of "Crossroads." Bruce just did not attack those now classic bass runs, as he did in the original version. Though professing that "we wanted to play as we do now, not as we did then," I wanted Bruce to set his fret board on fire. Yet Clapton, Bruce and Baker are only human; three musical icons together again after thirty-seven years. If you remember the early days of British rock, ever jammed a blues into the early morning hours, or are a classic rock fan, you need this DVD!

Well with great anticipation, I bought the DVD. Then I got out my video tape of the Farewell concert of 1969 and compared song for song. I wanted to share my observations. Of course the new concert you hear the drums much better and everything is clearer.

In both concerts they did not move around much, and really just played. The 2005 concern we see Jack sitting at times, however.

It was interesting to watch the crowds in both concerts. In the 60's, people moved to the music a lot more. In 2005, people didn't want to make any noise so they can could soak up everything. I had the feeling that wanted to be quiet so they would not miss anything that happened on stage. It was more like going to a jazz concert today.

1960's Cream

1. Thick guitar tone that was killer. Even when Eric did not play many notes, it just sounded so bloody good.

2. Drums were a little busier, with more energy.

3. There is more excitment in the playing.

4. On White room, Eric used a wa wa pedal which took the sound to a new level.

5. Bass guitar had some distortion to it. This helped the music to sound fuller when Eric was doing a solo. Almost like playing Rh guitar with Eric' lead.

6. The music flowed more, though they may of lost their place here and there, they were always able to find their way back.

7. Jack screamed lyrics more often and with energy.

8. Video is poor with the panning in and out while they are playing

2005 Cream

1. Eric Clapton's guitar playing has more deversity with note selections and fills. He has better chops now compared to back then. However since he has more of a modern EC guitar sound, it lacks that magic of the old tone that everyone loved; "the woman tone". Back then his fills were more limited.

2. Ginger now plays matched grip. A lot of drummers have switched including one of my favorites, Dave Weckel.

3. No wa wa pedal on White room, which was disapointing. We can hear him on "Just one Night album" playing a wa pedal on different songs and it was cool, even with a Strat. Having no wa was little disapointing.

4. Ginger's chops are just as good, and more refined than back in the 60's. Love the double kick doing a pattern and his hands doing another, though this appeared to be a lot more limited.

5. You can tell they rehearsed a lot for the concert. They were more aware of what each other was doing and was careful to stay together. Not as free flowing as in the old days.

6. Jack sang instead of screaming the vocal parts.

7. Bass playing just as good if not better than the old days.

8. Clapton's tone is ok, he never got a great sound on the guitar until he did some blues records a couple years ago. (Thats when he used a 335 and Les Paul again.)

I would of loved to see Eric with a 335 or SG and the Marshal. But I think they all felt, they have to play who they are now, and not try to be the player they were back then. There is some logic to this however to of heard him playing at least one or two songs with the old tone would of been amazing. I still love the John Mayers Blues Breakers tone he got as well.

Both have their pros and cons, with the old Cream edging out the new with more excitement in their playing and the tone of Eric's guitar. However Ginger's drums sound much better in 2005, and Eric has better leads in the new.