Notes

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Outtakes & Alternates incl BBC Sessions (2Cds)

BBC on the cover notes but not on the site.
Remaster Quality: Variable but overrall quite good. All recordings have been standardised as to amplitude (volume) and digitally filtered. Acetate noise is still present but much reduced on that source material. The BBC recordings have been bass boosted (not by me) which is acceptable as they are quite thin sounding (all the other versions I have). The off-air recordings include noise as it was AM and recorded by mike - this has been reduced.
Comment: The Outtakes combined with the BBC give a rounded picture of Cream's playing and development at the time. The BBC performances are not in the class of the the brilliant Hendrix release but there are a few very good ones. Separately the Outakes and BBC are of marginal interest but when I combined them it all came together because of the very brief recording period.

CD1 (71 min)
Fresh Cream Sessions
July/Aug 1966, Rayrik Studios, Chalk Farm, London
1. Beauty Queen (J.Bruce) - Rehearsal
2. Coffee Song (Colton/Smith) - Rehearsal
3. You Make Me Feel (Bruce/Brown) - Rehearsal
4. Wrapping Paper (Bruce/Brown) - Rehearsal 1
5. Wrapping Paper (Bruce/Brown) - Master, Alternate Mix (from Acetate)
Sept 1966, Ryemuse Studio, Mayfair Productions, Mayfair, London
6. Cats Squirrel (Ross) - Rehearsal
7. Cats Squirrel (Ross) - Alternate Master (from Acetate)
8. I Feel Free (Bruce Brown) - Rehearsal
9. I Feel Free (Bruce Brown) - Incomplete Master
10. I Feel Free (Bruce Brown) - Master, Alternate Mix (from Acetate)
Oct. 1966, Ryemuse Studio, Mayfair Productions Studios, London
11. Sweet Wine (Baker/Godfrey) - Rehearsal
12 . Sweet Wine (Baker/Godfrey) - Rehearsal
13. Sweet Wine (Baker/Godfrey) - Incomplete Master
14. Sweet Wine (Baker/Godfrey) - Master, Alternate Mix (from Acetate)
15. Sleepy Time Time (Bruce/Godfrey) - Alternate Master (from Acetate)
16. Four Until Late (Johnson) - Master, Alternate Mix (from Acetate)
Nov 1966, Ryemuse Studio, Mayfair Productions Studios, London
17. Rollin' and Tumblin' (Morganfield) - Alternate Master
18. Toad (Baker) - Rehearsal
19. I'm So Glad (James) - Incomplete Master
Note: Some sources describe additional outtakes, these are "You Make Me Feel 2" which is a duplicate of track '3'; "Wrapping Paper 2" which is a duplicate of track '4'; "I Feel Free 2" which is a faulty copy of track '9'.
The BBC Sessions
20/21 Intro/Wrapping Paper (Bruce/Brown) - BBC Radio 8 Nov 1966.
22/23 Intro/Traintime (Bruce) - BBC Radio 10 Jan 1967 (off air recording).
24/25 Intro/Stepping Out (Bracken) - BBC Radio 8th November 1966.
26. I'm So Glad (James) - BBC Radio 8th Nov 1966 (off air recording).

CD2 (72 min)
The BBC 'Fresh Cream'
1/2. Interview/I Feel Free (Bruce/Brown) - 10th January 1967
3. NSU (Bruce) - 10th January 1967
4/5/6. Intro/Sweet Wine (Baker/Godfrey)/outro - 8th November 1966
7. Sleepy Time Time (Baker/Bruce) - 8th November 1966 (off air)
8/9. Intro/Cats Squirrel (Ross/arr Splurge) - 9th December 1966
10. Four Until Late (Johnson) - 10th January 1967
11. I'm So Glad (James) - 9th December 1966
12. Rollin' and Tumblin' (Morganfield) - 8th November 1966
13. Toad (Baker) - 10th January 1967 (off air)
14. Traintime (Bruce) - 10th January 1967 (off air)
Wheels of Fire Sessions
July/Aug 1967 - IBC Studios, London
15. La La Song
16. Singalong
17. Tuba Tune
18. Spike's Theme
19. Blue Moon
20. Polonaise Jam
21. Barrelhouse Blues
Tracks 15-21 feature Ginger Baker on Spoons/Percussion & Vocals, Jack Bruce on Piano & vocals except for 1 on Acoustic Bass, Eric Clapton on Acoustic Guitar & Vocals, Felix Pappalardi on small Tuba & Acoustic Bass. These are very stoned jams probably recorded at jack or Ginger's home.
22. White Room (Bruce/Brown) - 1st Master.
23. Falstaff Beer (Baker/Bruce/Clapton)
24. Falstaff Beer (Baker/Bruce/Clapton)
25/26 Interview/Born Under A Bad Sign (Jones/Bell) 24th Oct 1967 - BBC Radio, London
Dec 1967 - Atlantic Studios, N.Y.
27. Anyone for Tennis (Clapton/Sharp) - Alt Master .
28. Pressed Rat and Warthog (Baker/Taylor) - Alt Master.
29. Politician (Bruce/Brown) - 9th Jan 1968 - BBC Radio Studios London
Oct, Dec 1967, Feb, June 1968 - Atlantic Studios, N.Y.
30. White Room (Bruce/Brown) - single edit.
Bonus Track - June 1965 - London
31. On Top of the World (Mayall) John Mayall's Bluesbreakers featuring Eric Clapton
- Edit from acetate and hilights Eric's innovative use of feedback.


THE SESSIONS - reviewed

Cream had begun serious rehearsals in June 1966. On July 31st they headlined at the National Jazz and Blues Festival. Soon afterwards they entered the primitive Rayrik studio to record the obligatory smash single. Unfortunately they were somewhat short of original material.

Eric had his blues covers and Ginger and Jack some of their material from the Graham Bond Organisation. Most likely Robert Stigwood proposed the Tin Pan Alley like "Coffee Song". To maximise financial return, original songs were required as song writing royalties offered the best long term income. Jack had some original tunes, most of which were deemed unsuitable. One example is the outtake "Beauty Queen" - at best a song requiring a lot of development.

While Jack and Ginger could come up with music and arrangements, lyrics remained a problem. Ginger invited the poet Pete Brown to help him out but Pete immediately formed, what has become, a long-lived partnership with Jack. Pete set some words to some of Jacks tunes, one of the earliest being "You Make Me Feel" with its decidedly 'goonish' lyrics which, again, was not developed beyond the rehearsal outtake. Another effort was deemed suitable and work began on the A Side of the single.

August 1966, Rayrik Studios, Chalk Farm, London
Engineer: John Timperley, Notional Producer: Robert Stigwood

Coffee Song (Colton/Smith)

The rehearsal outtake, during which Jack and Eric crack up over the trite melody, says it all. They completed it with, probably, some additional overdubbing in December. Planned for inclusion on the album it was sensibly dropped but did appear on some European EPs.

Wrapping Paper (Bruce/Brown)

Began as a co-operative development but published as a Bruce/Brown composition. This still sticks in Ginger's craw to this day. A clear attempt at a piece of clever pop reflecting the dominating influence of the Beatles in the industry.

The rehearsal outtake provides a pretty clear indication of how they were struggling to get the production together within the limitations of the studio and the notional producer.

In an era when the 3 chord trick (2 chords for the chorus, 3rd on the bridge) became standard, Jack provides what sounds like a seemingly simple song. It is has a 12 bar structure, but it is not a blues, and a mere 9 chords with 14 changes in the 12 bars. The solo is also distinctively non-blues of slide like guitar notes (very similar to "On Top of the World" from 1965) with Arco bass.

Outtakes: "Beauty Queen", "You Make Me Feel", "Coffee Song", "Wrapping Paper" (rehearsal and alternate).

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At this stage, the demands of touring intruded and no B Side was completed. Also this was probably the studio that Ginger 'accidentally' spilt Coca Cola into the mixing panel. The combining of "Wrapping Paper" and "Coffee Song" was probably considered too blatantly poppy.

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September 1966, Ryemuse Studios (Mayfair Productions), Mayfair, London.
Engineer: John Timperley (and for all other sessions)

Moving to a marginally superior studio, they completed the B side of the single and also completed its follow up.

Cats Squirrel (Dr Isaih Ross, arr S. Splurge)

S. Splurge was a group pseudonym to spread song royalties, except to Dr Ross.

A tight and exciting rendition with the riff appearing regularly in the extended jams of the next year. A simple song that shows what you can really do with one chord! The rehearsal outtake lacks the harmonica/guitar overdub (Eric does the lead break as part of the basic guitar line) but it still stands up - raw and rough.

The alternate master was released on a French EP and has an alternate lead overdub. It is unclear why this wasn't used but probably Eric was not satisfied with his lead break.

The single was released in October, and only reached 34 on the UK charts, hardly auspicious for a band of their reputation.

The Guitar Solos by Jeffrey Aarons Cats Squirrel

This is one of the most exciting Fresh Cream studio cuts.

This old blues cover is based on an open E chord. The only variation is the first change from the opening E chord is just an A note making it (technically speaking) an open E11 or E eleventh chord. Clapton than alternates sporadically between E11 and an A triad at the second fret (where he bars the inner three strings, B, G and D strings) with his third (most likely) finger also touching the E string on the second fret, causing his pick to occasionally hit that note which produces the sixth overtone (F sharp).

The rhythm guitar track is the Les Paul, with moderate volume level and on the treble toggle position with treble tone turned slightly down to roll off the edge. Unless he was on mid-toggle position with bass pick-up down and treble pick-up higher but when I see close up pictures of Clapton's guitars, they are usually on Treble toggle position which is consistent with his most common tone [not woman tone] and also used for his rhythm.

After the guitar chord intro, Clapton comes in with his second (the overdub) guitar, on treble toggle position and at a much higher volume level, and cranks out that wonderful theme - riffin' the high register E position, 12th fret, which is in unison with Bruce's harmonica. During that main riff, Clapton uses mostly full note bending, predominately, on the second and third strings with a wonderful stretch vibrato on the 15th note into the riff (the second bend to the E note on the 15th fret second string, from D). His smooth flowing string bending, picking and fingerwork blend masterfully with the harp, slightly smoother than on "Rollin' and Tumblin' ", which is meant to be a little harder edged.

After the main riff sequence, Clapton slips back down to the open E position and follows the remaining theme still in unison with the harmonica but using harder picked notes on the 3rd and fourth strings, first and second fret. This continues at a hectic pace until they stop and Bruce begins his "alright alright alright alright, alright alright alright"....etc... This sequence is one of Creams most exciting studio climaxes. The tension that is built during Bruces vocal perfectly anticipates Claptons soaring guitar break. As soon as Bruce stops, Clapton cuts loose all alone, with a high register riff on the 12th position. He hits the first climax with a perfectly executed stretch vibrato (reaching the E note on second string) with Baker crashing in on that precise beat. That vibrato is significant to an experienced guitarist due to it's phenomenal control and perfect sonic ambience. Usually a guitarist will be heard bending up a little before the target note is hit. In this case Clapton hits the note and the vibrato with unrivaled precision which as a result resonated even more of a chill and prepares the listener for more dynamics. After that vibrato, Clapton artistically waves that same bent note before descending on the next beat and joined by Baker and Erics rhythm guitar (open E chord). Than Bruces Harmonica and bass come in much later to join the drums and rhythm guitar bringing Erics solo to an exciting close. After the next three notes Clapton then flashes an appetizer of speed during a four note sequence before he settles into the next beat. With Baker and Bruce continually building tension on the designated beat, Clapton weaves and groans with agonizing third string bends then finally tapers off (all in minor modal positions) and beautifully descends back into the theme sequence on the first and second fret building density and volume with his pick.

This solo is a perfect example of Claptons ability to create architecture,displaying tension, climax and seamless descention back to the verse. He and Bruce re-create the main sequence riff again creating the illusion of an almost faster pace (maybe it is) before tapering off and fading for the end. Clapton does a quick bend 'ROLL' of the third string at the beginning of the previously described solo which is a way of quickly playing two notes with a fast bend and finger effect, rather than a straight half step up on one fret to reach the same note. This 'rolling' sound, was characteristic of his Bluesbreaker period, especially prominent in the tune 'Hideaway' and continues into Fresh Cream as shown here.

This rolling sound which is always done on the third string, stopped after Fresh Cream and was never heard again in any solo that's been officially recorded. There is one bootleg version of Cat's Squirrel I have heard from an early 1967 concert. Clapton who is definitely using a Les Paul on the show, does another very exciting solo for Cat's Squirrel carrying over the same exhilarating feeling he generates on the studio version.

I Feel Free (Bruce/Brown)

The next attempt at a single was musically a lot heavier with Jack now becoming more assertive as Ginger pushed Stigwood out of the production role. While it opens with clever multi-tracked harmonies, it is the bom-bom-bom of the drums that leaps out at you. This was insisted upon by Jack despite Ginger's "you're mad". Jacks arranging experience with the pop production line of Manfred Mann was paying off. Eric pulls off a fine solo and Pete provides lyrics about dancing. A minor classic that was found to be far more acceptable and reached 11 on the charts.

The rehearsal outtake indicates the difficulty they were having in devising the correct recording approach. The incomplete master is the basic track before the additional overdubbing. Really shows they needed a proper producer.

Unfortunately this was to be Pete Brown's last contribution to the session. He had entered a clinic ("In a white room with black curtains...") after becoming strung out. From this time Pete eschewed all intoxicating substances - his lyrics are a product of his true mind.

The Guitar Solos by Jeffrey Aarons I Feel Free

On this tune, Clapton really shows off his phenomenal finger vibrato.

Since there is no accepted conventional term for specific types of vibratos, lets make two distinctions for describing all future Clapton solos. The first type of vibrato is the straight note vibrato where Clapton uses a very effective arm motion with his left thumb off the neck. The note is shaken without bending the string. So in essence, he is giving the note, in it's plain fretted position, a powerful vibrato without reaching a higher note or an entire halfstep up. The second type of vibrato is Claptons most exciting... the stretch (bended) vibrato. Clapton creates this type of vibrato with a wrist and finger motion. First he bends (pushes up) the string until it reaches the desired note, which is sometimes a whole step away or a massive 1 1/2 or even two steps away, then he employs the wrist/finger vibrato (the main action is created by wrist motion with the finger mainly static). There is a lesser third type that involves the finger pulling the string back, usually only on the last two lowerstrings (E and A).

"I Feel Free" demonstrates both of the main vibratos with maximum impact. The tune starts with Eric's background (rhythm track) striking the famous E7 raised ninth (E7+9) chord which is heard in many other tunes like "Outside Woman Blues", "Spoonful" (ending) and in other keys where he used the raised 9th often during songs and often as Cream's signature ending chord as in the live "Sitting on Top of the World", "Sleepy Time Time", an so on. The chords he uses during the I Feel Free verses are mainly straight major type bar chords with Fifth string root (known as power chords) and the dubbed piano note droning the E note during the bridge. On live versions, during the bridge, Clapton used a droning open E string in place of the piano.

Clapton is using the Les Paul on "Fresh Cream", however on "I Feel Free", Clapton utilizes the precursor to the "woman tone" when he starts the solo: either using the bass toggle position or less likely the mid-toggle setting with volume and tone control adjustments. The solo starts in high register E right off, featuring the stretch vibrato and precise picking. The solo mimics the actual melody line which is unusual for Clapton as he continues on with melodic stretch and straight note vibratos. He was trying a different approach on this solo until he gets toward the end where he uses pentatonic modal positions before he quickly moves up high to the 17th fret for the climax. At this point he quickly flips his toggle switch to the treble position for a screaming (B) note bend held high in the air then finishes it off with the last note being a bluesy first fingerbend on the E string 15th position.

When he hits that high E note toward the end right before the high B note bend, he his picking with extreme pressure and on an angle which was part of Claptons slicing, percussive picking sound he especially exploited with those wonderful Gibson Humbuckers. Claptons picking which utilized both down and upstrokes, could be either sweet or fierce depending on his pick angle and pressure. The "I Feel Free" solo sounds predominantly picked slightly above the treble pick-up toward the middle. At the end of the solo, it' s possible he moves his pick slightly closer to the bridge for maximum impact.

Over all it's one of his finest studio solos.

NSU (Bruce)

The B-side shows only the proto-elements of the heavy rock classic it was to become in 12 months time. At best a transition song - pop rock with lyrics about the joys and dangers of being a sexually active young man.

The Guitar Solos by Jeffrey Aarons NSU

At my "live" experience at the Electric Factory. I noticed that Clapton began the opening sequence of notes (which comprise a simple A major chord) in the 5th position and to my surprise, fingered the chordal notes instead of picking them. He then launched into his patented power chords (major chords with root on fifth string) with his characteristic second (Bird) finger arched high in the air, which he does to this day. I am assuming he is doing the same on the opening rhythm track of the studio version of NSU, it certainly sounds like it.

After the first verse,Clapton bolts in with his overdub, harshly picking away with carefully timed strokes on the same chord sequence which partially overlays his rhythm track. Both the live recorded versions and the Factory version featured the same very powerful power chords blasting out of his Marshall Stacks to more than compensate for the missing rhythm track.

On the studio version, the second verse ends with Bruce and Bakers Bass drum, alone, measuring the thumping beat for 5 or so measures. Than Eric's rhythm guitar obliges with the start up chord and back into the verse until Eric slices in during a key change, with a hard edged solo that begins with FEED BACK!

On this solo, Clapton has his Les Paul really cranked up on the treble setting tone switch. After the feed back, he begins with very heavily picked notes featuring strong, straight vibratos and his 'Rolling and Tumbling' whip on the third (G) string sound before settling into minor modal riffs in the root position, still crunching his pick for an extremely percussive effect. Three quarters into the solo, he jacks up a gorgeous stretch vibrato on the second string, instead of first for an easier attack on the stretch vibrato. Then, shortly before the end, Eric hits an uncharacteristic double note, meaning, as he bends the string up, his pick catches the sonic addition of the other string caught in the bend, in this case the G or third string. However, this is something he would do PURPOSELY when he got down and dirty with the Dominoes.

In summation, Claptons studio NSU solo is average by his Cream standards, but retains a few exciting moments that qualify it as a classic.

Outtakes: "Cats Squirrel" (rehearsal & alternate), "I Feel Free" (rehearsal, incomplete & master)

October 1966, Ryemuse Studios (Mayfair Productions), Mayfair, London.

The year was slipping away and an album was required for Christmas. They had built up a solid set of numbers for performance and now moved to capturing their live sound. Janet Godfrey, Jack's wife, had capably taken up some of the lyric writing slack.

Sleepy Time Time (Bruce/Godfrey)

A slow blues in 12/8 time. It continued to be played on tour during 1968 without any signficant change in arrangement, except marginally extended length. The alternate master was released on a French EP and has an excellent solo from Eric. This was later redubbed as there is some pick-striking-pickup noise on the alternate.

The Guitar Solos by Jeffrey Aarons Sleepy Time Time

This is one of my favorite slow blues studio cuts by Cream. In fact, "Sleepy Time Time" represents one of the few, traditional 1,4, 5 chord slow blues formats cut in the studio (others are "Sitting on Top..", "Lawdy Mama" etc...) not counting a variation of this format which is featured in Born Under A Bad Sign.

"Sleepy Time" is in the key of C and begins with only the bass and drums on the six intro notes, then Erics rhythm track guitar comes in at the same time his overdub starts. Eric's picking the intro notes on the 5th and 4th strings at the 8th position with Baker and Bruce behind him. Than Eric comes in with his over dub guitar and plays the tunes main theme: which is comprised of a slight third finger bend of the second string on the 10th fret (B flat), than lets down to the regular A note (same fret) then picks the G note on the 8th Fret (first finger) than over to the 3rd string (third finger) 10th fret for the F note than the last two which are E flat and E using first and second fingers on same string. From that point on, Clapton weaves and sings a gorgeous assortment of answering riffs which show off to perfection the synergetic effect of the patented Clapton Les Paul/Marshall symbiosis: displaying incredibly rich, thick, resonating tone and a sweet sonic ambiance that permeates his entire performance.

Eric utilizes beautiful straight and stretch vibratos throughout the tune which reveals a new level of control that surpasses his Bluesbreaker period. After the fourth verse of the repeat (before second refrain), Clapton jolts the listener with a viciously picked C note the second string, 13th fret, descending with a straight vibrato on the B flat note then slides down on third string from G 12th fret to the F note, on 10th fret, before returning to the remaining riffs.

Before the solo break, Clapton prepares you for his solo with a sharply picked sequence of three notes then a brilliantly executed stretch vibrato (reaching the C note) on the second string, 11th fret, followed by a descending sequence which features another Clapton trademark, the snap & bend or what is now a variation of the hammer off. Clapton would grab a note (in this case the E flat note, third string, 8thfret) with his first finger than hammer on his third finger, without picking (two frets up same string), then SNAP off with the same third finger back to his first finger. BUT in his case he added an innovation (based on the old bluesplayers but with more finesse) which consisted of bending up slightly with the first finger, reaching a half step up in tone (E flat to E), creating another patented Clapton sound.

He then begins the historic solo that features Claptons incredible control, finesse and architectural mastery. Without once resorting to a fast riff, he guides you through a gut wrenching, yet sweet, melodic, solo with a range that begins in the 8th position, moves to the 16th position with his 2nd and third fingers spreading up to the 18th fret. Here he hits a suspended high bent note that soars sweetly in the air (C note) on the first string 18th fret, with nine pick strokes. From there he continues to artistically vocalize with his Les Paul before descending back to the 8th position quickly stroking a short but savage three note sequence then brilliantly executing another honey laced, flowing close with all of his wonderful picking nuances created from unbelievable control of picking pressure.

The closing riff at the end of the tune, is a simple Clapton minor modal phrase that ends with a firmly picked C Seventh chord inversion. It is interesting to compare the studio Sleepy Time with the Live Sleepy Time where Clapton flashes a flowing fast riff during an early climactical phase of the solo. He also plays with more power at the end of the live version with some strong straight vibratos and some jaw lifting bends all in the 8th position.

Dreaming (Bruce)

Pretty much a Jack Bruce solo effort with a feel and sound that continues in his career today. Involves 14 chords and done in ¾ time.

Sweet Wine (Baker/Godfrey)

Ginger didn't get Pete for his lyric writer but Jack's wife! Like NSU there is barely an inkling of the live monster that was to come. The three alternate versions are quite illuminating.

The rehearsal has Jack fluffing the lyrics but shows them laying down as much as possible in the first dub - bass, drums, guitar and vocals. Fundamentally a live approach that left 2 tracks for overdubbing - usually guitar, harmonica and, sometimes, additional vocals.

The 2nd rehearsal was reputedly recorded after Jimi jammed with them at the London Polytechnic (Oct 1). Jack is playing up loud and Eric is trying to coax feedback from his Les Paul. His limited success may have made him try out the SG. The legend of this outtake far exceeds the reality, as does the quality of most versions.

The incomplete master was released on the French EP. It lacks the lead guitar overdub, which is the clearest example of their, now, faster recording process as they worked to get the album out.

The Guitar Solos by Jeffrey Aarons I'm So Glad

In the key of C, Clapton rips a solid but some what restrained solo in this favorite live number from Fresh Cream. This solo features wonderfully strong stretch vibratos and crunching picking technique especially accenuated by the Les Paul.

The Les Paul/Marshall synergetic explosion is at the fore front here, obviously part and parcel of EC's massive influence on his peers and eventually the world. The actual solo features one main guitar out front with a second guitar somewhat more distant and concentrating on feedback (this of course is all on top of a backing track rhythm guitar). The live Cream version of Sweetwine is by far the best recorded version among all of the boots I have heard at least concerning the guitar jam.

Outtakes: "Sleepy Time Time (alternate) "Sweet Wine" (2 rehearsals, incomplete, alternate mix),

November 1966, Ryemuse Studios (Mayfair Productions), Mayfair, London.

Four Until Late (Robert Johnson)

It is really an acoustic rendition, except for Eric sticking to electric guitar. The alternate is an early mono mix that was released on a French EP.

Rollin' and Tumblin' (McKinley Morganfield)

The classic Muddy Waters song covered by many and rudely ripped off by the Jimmy Page led Yardbirds. The alternate master is also excellent, but not used as there is some feedback on the harmonica at one point. In the studio but done just like they were live. The live 1968 version is only longer with no significant variation in arrangement.

The Guitar Solos by Jeffrey Aarons Rollin' and Tumblin'

This is the first tune Cream played at the Electric Factory show and will be indelibly printed on my memory as the intro to an unforgetable experience.

On the Fresh Cream version (as well as all others), Clapton's roll is mainly supportive, allowing Bruce to have the spotlight with his harmonica gymnastics and complimenting Bakers beautiful and energized brush work.

Eric features very strong straight vibratos playing in a restricted set of positions in the key of G, between the third position and 6th position (the central note that Eric digs his vibrato into is mostly the G note on the eighth fret, second string). Right before the end of each verse, as Eric plays the theme in unison with the harmonica (as in Cat's Squirrel), he pulls off his "whip" sound, which is just a quick left hand slide up the third (G) string. On the Fresh Cream outtake and Live versions, Clapton employs the whip more often and during the main theme and verses.

This is a classic example of controlled, yet powerful support in a delta style blues format featuring harmonica. Clapton as usual, is a very generous player and does not attempt to steal the show from Bruce by lashing out some monster riffs which he could have easily done. Clapton shows the remarkable ability to perform as a true professional even at the early age of 21. Usually, only a seasoned pro can restrain themselves so easily and in Claptons case it was also a show of respect for his two elder band members.

Toad (Baker)

Conceptually under development from the Graham Bond days. The rehearsal outtake is just that and lacks the guitar solo intro. That drum solo simply just doesn't flow. The released version is a classic and destined to be a live monster within 12 months.

I'm So Glad (Nehemiah 'Skip' James)

More of a folk song than a blues, which was heavily rearranged. Became a staple of their live performance to the very end. Something about this song always seemed to bring the best out of them. This was only mixed to mono, no stereo mix exists. The alternate lacks the lead guitar overdub, which indicates that it wasn't completed till December.

The Guitar Solos by Jeffrey Aarons I'm So Glad

This is a very simple tune again in the key of E as is "Spoonful", "Cat's Squirrel", and "I Feel Free".

Eric begins the intro finger picking style with an interval progression up to the fifth fret and back down again chromatically. This interval is a staple of delta blues similar to his treatment of the Bluesbreaker song, "Ramblin on my Mind" where he employs the same chromatic intervals consisting of the fifth and third strings with the E string used a pedal tone. If one listens closely to the tune "Deserted Cities of the Heart" (on Wheels) Eric again utilizes this chromatic blues interval progression with a different spin and effect for that tune.

In "I'm So Glad". Clapton flows into an easy set of laid back open D and E chords with some possible fifth position D chords thrown in etc..After the main verses (featuring some lush harmony) end Eric overdubs his Les Paul for a brilliant melodic solo.

This solo take a different approach as opposed to Eric's more typical modal work. It tastily integrates elements of the dominant seventh scale, while flowing these notes up and down the third string employing fluid, lush, vibratos and huge string bends toward the end when he settles back into modal form. His picking features his typical masterful use of variable pressure for tonal effect.

At the finish of the solo, he repeats the intro and the song goes from until the last verses where they sing (obviously with overdubbed harmonies) without instrumentation then end on one big E chord. This recording has been available in both artificial stereo and mono.

Outtakes: Rour Until Late" (alternate mix), "Rollin' & Tumblin"(alternate), "Toad" (rehearsal), "I'm So Glad" (incomplete)

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At this stage it appears that several tracks were pulled together to release in France as a tour was booked for December that included TV and radio appearances. Two EPs were released which contained alternate masters, mixes and incomplete masters. In early December the returned to the studio to complete the album.


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Spoonful (Willie Dixon)

Almost live in the studio with only the harmonica overdubbed. The longest track on the album and destined to get longer. A classic rendition which has been widely emulated. Their confidence is now high and they play it loud (John Timperley seems to have mastered the techniques required). Speculation: quickly done to push out "Coffee Song"?.

It is likely that additional dubbing was carried out on "Coffee Song'' and "Sweet Wine" and some of the solos redubbed - "Sleepy Time Time", "Cats Squirrel" plus "I'm So Glad" completed. Mixing of the Fresh Cream album was completed on 8th December.

The Guitar Solos by Jeffrey Aarons Spoonful

This is Claptons finest solo on Fresh Cream and possibly of any Cream studio recording.

The tune is the closest to a live sound on the LP outside of "Rollin' and Tumblin' ". In the key of E (same as "Cat's Squirrel", "I Feel Free" and "I'm So Glad") the band starts off with a slow hypnotic main riff which consists of the notes G and E corresponding to "Spoon Full". The G note is of coarse slightly bent for the blues effect. Clapton sets the mood and tension by the end of the third verse when he pulls off a massive stretch vibrato which represents the staple of vibratos all others would follow. The tune continually sneaks up on the listener until Clapton breaks for his solo.

This solo is a classic example of Clapton architecture, displaying tension, tonal perfection, space, build-up, climax and slow reduction easing back into verse. Eric starts out teasing the ear with slow stretch vibratos on the second string 12th fret, then as he builds up tremendous anticipation in the same 12th position, he introduces the setup for the climax by brilliantly increasing his picking pressure and releasing the G string bend and hitting the low open E string. Then he lifts you up with another massive soaring stretch vibrato (second string, 15th fret, high E note) hanging it just long enough to tear into a climactical fast sequence, quickly descending down to hard picked massive string bends on the G string and continuing the high energy overall attack, slowly reducing tension and passively merging back into the main theme. This solo is almost a benchmark by which all others could be measured.

Live versions of Spoonful (due to there length) rarely capture the excitement of Claptons studio solo except for some very aggressive playing on the Detroit Grande Ballroom version and especially Ricky Tick bootleg, where Eric keeps a consistent level of excitement and dynamics, reminding the listener of his Fresh Cream masterpiece. Other Spoonful live versions of course are very long jams, but still display moments of Clapton building tension and displaying his masterful architecture and flawless execution. Atco records made a huge mistake when they cut Spoonful from the original American version of Fresh Cream. Guitar players had to find imports to hear Claptons wonderful solo.

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Production of this album is credited to "Robert Stigwood Productions". The reality is that it should be credited as "Cream & John Timperley".

The UK album included "Spoonful" but not "I Feel Free" and the US a remixed "I Feel Free" but not "Spoonful" which was released as a two part single. "Coffee Song" was listed for inclusion (Stigwood again!) but thankfully dropped. The album met with considerable critical and chart success reaching no 6 in the UK. While not reaching high on the US charts, it never the less sold steadily through 1967 and was highly influential.