Rewind Review: Cream – Fresh Cream (1966)

I decided to explore the four classic albums by Cream (Ginger Baker – drums and vocals, Jack Bruce – bass, harmonica, and vocals, Eric Clapton – guitar and vocals) after hearing one of their many great blues covers not long ago. I found them all in a nice box set at a recent record collector show and decided to dive into some late 60’s stoner-psych blues.

It’s easy to forget that Fresh Cream was a sensation when it was released because Cream was practically a supergroup by the time it hit the stores. All three members had already played in prominent London bands (i.e., The Yardbirds, John Mayall’s bands) and were highly regarded for their skills.

The opener, “I Feel Free,” was an instant classic. It starts with a simple “bum-bum-bum” vocal and handclap rhythm before Baker’s crazy cymbal work, Bruce’s sharp vocals, and Clapton’s wailing guitar take over the song. “N.S.U.” has sizzling guitar work from Clapton, which might relate to the possible sizzling he was feeling in his groin at the time, as one of the rumored meanings of “N.S.U.” is that it stands for “Non-Specific Urethritis” – a venereal disease Clapton may have had back then (or perhaps a motorcycle since one is mentioned in the lyrics).

“Sleepy Time Time” is, most likely, about being high and / or sex afterglow. Baker’s jazz drumming on it is great. He’s known for his grooves and this song is a prime example of them. “Dreaming” could’ve been a 1950’s jukebox love song in another life. “Sweet Wine” has some of Clapton coolest playing on the record. Their cover of Willie Dixon’s blues classic “Spoonful” is a masterpiece and the longest song on the record.

I don’t know what a “Cat’s Squirrel” is, but it’s another bluesy rocker with great harmonica work by Bruce and wicked grooves by Clapton. “Four Until Late” is a Robert Johnson classic, so it’s only right that Clapton does lead vocals on it. Their cover of “Rollin’ and Tumblin’” will make you a Cream fan if you’re not by the time you reach the ninth track because they absolutely shred it. This was the song I heard that made me think, “I need to buy some Cream records.”

Cream was also the only band back in 1966 would could get away with covering Skip James’ “I’m So Glad” and have it be such a groovy psych-rocker. “Toad” is pretty much a five-minute and eight-second Ginger Baker drum solo, and that alone is worth a listen on this album.

They call stuff like this “classic rock” for a reason. Fresh Cream blew people’s minds in 1966, and it’s still mind-blowing, heavy, and fresh.

Keep your mind open.

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Captain Ivory – No Vacancy

CINV

Captain Ivory (Robbie Bolog – guitar and lap steel, Seth Maschari – drums and vibes, Brett Smith – bass, Jayson Trayer – vocals and guitar, Steve Zwilling – piano and organ) describe their sound on the cover of their new album, No Vacancy, as “greasy rock ‘n’ roll.” I can’t do much better than that. The whole album is full of power pop, swamp rock, and blues rock grooves that are so greasy you could fry a donut in them.

“Broken Light” introduces you to Trayer’s fine vocal style, which is somewhere between Kings of Leon, Howlin’ Wolf, and Jethro Tull. Maschari’s vibraphone work on the title track takes the song to a level above garage rock that other bands are still trying to reach. Zwilling’s keys take us into psychedelic territory on “Skinning the Hand,” and the rest of the band puts down a great blues groove while Trayer sings a fun song about a desperate man in a desperate card game that could put him on Easy Street or kill him.

“Cascades of Spain” is a lovely song about a man’s journey through old Europe. “Paper Towns” has excellent guitar work throughout it. “Hello Love Goodbye Fear” is a vicious attack on the current political landscape. “Every time I think about the western dream I let loose ‘cause I know it’s a lie,” Trayer sings. Zwilling’s keyboard work is jaunty, despite Trayer’s angry lyrics, and those stadium rock riffs are great. “Never Mind” is a classic rock song about heartbreak, and the breakdown in the last minute is outstanding. I love the way “Come Down” switches from a rock ballad to a sweaty, gritty blues-powered rock cut. The closer is, fittingly, “Epitaph,” which brings in some delightful soul touches.

I discovered these guys when my wife and I saw them play at a street festival in Ann Arbor, Michigan earlier this year. They are a crackerjack live band and worth your time if you enjoy greasy rock ‘n’ roll.

Keep your mind open.

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