

Wrapping up my journey through the Cream (Ginger Baker – drums, Jack Bruce – bass and vocals, Eric Clapton – guitar and vocals) catalogue, I arrive at their fourth and final record – Goodbye. The band was dealing with the pressures of success and frequent touring, the clashing egos of Baker and Bruce, the eagerness of Clapton to try something new, and a lot of drug use among all three.
Goodbye, which features interior album art of the song titles on gravestones, is only six tracks. Three are live cuts and three are studio recordings. The opener is a version of “I’m So Glad” over nine minutes long. Bruce’s bass is fat on it and they’re soon into a massive jam during which all three members try to outdo one another. This jam is so heavy that it’s a shock when they come back to the lyrics.
The bass and drums on the live cut of “Politican” are almost sludge metal, but Clapton keeps the blues flavor close. He keeps it even closer on “Sitting on Top of the World” with funky riffs, and Baker’s drumming on this cut is outstanding.
The studio cuts begin with “Badge,” which is written and sung by Clapton. It’s almost a Traffic track (and Clapton was trying to get Steve Winwood to join the band around the time, but Winwood was happy with Traffic). Clapton’s guitar work stretches out for a great mix of blues, psych, and even a touch of surf. “Doing That Scrapyard Thing” has Bruce playing bass and piano as he sings a quirky jaunt about his youth.
I’m sure the irony wasn’t lost on Cream, their label, and their fans that the last song on Goodbye is titled “What a Bringdown.” It’s a song that returns to their psychedelic rock (listen to that freaky guitar work by Clapton) and talks of changing times and looking for better opportunities (i.e., “Do you or don’t you wanna make more bread?”).
Goodbye is a good record. It’s no Disraeli Gears, but any Cream is better than none. They were too good to last, not unlike the Police. Theatres weren’t big enough for their rock, and unfortunately the band wasn’t big enough for them.
Keep your mind open.
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It was with sunburned legs and neck that a friend of mine, Scott, and I headed into downtown Phoenix, Arizona for the annual Viva PHX festival. It’s an impressive undertaking by the city. 100 bands play in 18 venues around downtown in one night. The style of acts ranges from jazz funk to thrash punk, so you can see just about anything (even lucha libra wrestling).
After dining on a turkey burger and a chicken quesadilla, Scott and I walked to the Valley Bar. A friend of his had described it as a “dive bar” you had to access through an alley. She was right. We walked down an alley, past a dumpster, and down into a basement bar mostly lit by candlelight. It was a neat place, and the pear cider there was outstanding.
The doors to their mid-size music hall opened a bit late, but I was happy to see some Orange amplifiers on stage and everything else already set up and ready to rock. Jjuujjuu opened with a good set of mostly instrumental psychedelia. Shame on you if you missed it because they were a great way to start the night. Scott, who had never heard of any of the bands playing, enjoyed their set.

Froth were up next and laid down their “California vibe” psych-rock. This was the first time I heard some of their new stuff, and there were some good rockers in there. Scott thought Froth’s lead singer was too much of a perfectionist (due to his frequent requests to get the levels right in his monitor), but didn’t think their set was bad.

I got up close for Deap Vally. I told Scott that they were “going to be loud as fuck” in the small venue, and I was right. They played a set of tracks from their excellent sophomore album Feminism and one (“Walk of Shame”) off Sistrionix. This was the first time I’d seen them in a small venue and with Julie Edwards on drums. I also spoke with Ms. Edwards before and both she and Lindsey Troy after their set and they were delightful. They were the only band that hung out in the merch area the whole night and they were swarmed after their killer set. I always feel bad for any band that has to follow them because they take no prisoners. Scott was impressed.



He was also impressed by Night Beats, even though they played a short, four-song set. I don’t know if they got in late and thus lost some of their set time or if they had to cut out early to make it to another engagement, but four songs live by Night Beats are better than twenty by many other bands. It was nice to see them grinning after having reported a lot of their gear had been stolen in Tijuana a couple nights earlier. They threw down hard and then were gone in the blink of an eye, almost like a firework exploding.

Temples closed the Desert Daze Caravan show. I’d seen them on the main stage at Levitation Austin in 2014 and was surprised by how heavy their set was. I wondered if they’d be just as much in a small venue. They were, but they were also crisp. It was one of the better engineered sets I’d heard from anyone in a while. Scott wasn’t much a fan of their British psych sound, but I thought they had one of the best sets of the night, and the crowd was crazy for them.


Yacht weren’t part of the Desert Daze Caravan tour, but they were the “afterparty” band at the Valley Bar that night. We almost left before their set, mainly because it first appeared they weren’t going to set up for another hour, but they zipped onstage as soon as all of Temples’ gear was gone and dropped a fun electro set that had the crowd bouncing. Scott said, “I wasn’t into it at first, but they grew on me.”

I spoke with the man who made all the psychedelic light effects for the Desert Daze Caravan bands. I thanked him for the nice work. He shook my hand and said, “You saw a good one. The spirit of rock and roll was here tonight.”
We emerged from underneath the city around 1:30am. Were it not for the bits of trash, traffic barriers, and the gear vans still here and there, you wouldn’t know a music festival had just taken place. It was eerily quiet. All you could hear was the spirit of rock and roll.
Keep your mind open.
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The third stop on my journey through the Cream (Ginger Baker – drums, Jack Bruce – bass and vocals, Eric Clapton – guitar and vocals) catalogue brings me to their double album Wheels of Fire.
The album opens with perhaps their greatest hit, “White Room,” in which Bruce sings about being trapped in a strange place while Baker’s drums try to break him out and Clapton’s guitar wails like someone in a mental asylum. It’s a great way to start a record. Many bands could (and did) learn from it.
Their cover of the blues classic “Sitting on Top of the World” is another fine entry into their list of blues-rock power tracks, and Clapton’s guitars are downright dirty on it. “Passing the Time” floats from rock to calliope-fronted psychedelia. “As You Said” is more tripped-out psychedelia with Bruce’s vocals layered with reverb, his acoustic guitar licks spiced with Arabic influences, and even playing cello on it.
“Pressed Rat and Warthog” brings in trumpet and recorder as Baker sings about an unlikely pair of pals with a weird store and Bruce and Clapton put down heavy riffs.
Everyone had a political statement to make in the 1960’s, and Cream was no exception. “Politician” is a sharp-witted sting on politicians using their position to get laid and ducking responsibility whenever possible (“I’m support the left though I’m leanin’ to the right, but I’m just not there when it’s comin’ to a fight.”). “Those Were the Days” mentions another subject common in 1960’s music – Atlantis. Bruce sings about ancient times and places and how he craves a return to such enlightened times before Clapton unleashes a quick solo that might raise the lost city from the depths.
Their cover of the blues standard “Born Under a Bad Sign” pretty much set the standard for covering the Booker T classic. You can tell they had a good time recording it, and Baker’s groove is so sick it needs penicillin. “Deserted Cities of the Heart” has an excellent guest violin by Felix Pappalardi (who contributes a lot to the album on several tracks and instruments).
The second part of the double album is a live recording from the Fillmore that opens with another one of Cream’s greatest hits – their cover of Robert Johnson’s “Crossroads.” Eric Clapton, as you well know by now, shreds the tune like a crosscut saw. As good as it is, however, it’s really a warm-up for the epic version of “Spoonful” that clocks in at nearly seventeen minutes. “Traintime” has Bruce having a blast on harmonica while Baker keeps a Johnny Cash-worthy beat behind him. Baker then goes bananas on “Toad” – a drum solo over sixteen minutes long.
The live portion of the album is alone worth the purchase price. The psychedelic rock on the studio album is a great bonus.
Keep your mind open.
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British psych-rock four-piece Temples have a new album, Volcano, and are currently taking the U.S. by storm on their latest tour. Their last album, Sun Structures, is a lovely piece of psychedelia. I caught them at Levitation Austin a few years ago and was surprised by how heavy their set was. Seeing them at VIVA PHX will be my first time seeing them in a small venue, so I’m keen on hearing that surprising sound up close and personal.
Keep your mind open.
As I have mentioned in the past, I will see Night Beats at any given opportunity. They are one of the best live acts out there right now and absolute gunslingers onstage. I saw them three times last year (once in Chicago, once in Austin, once in San Marcos), and their newest album, Who Sold My Generation, was one of my top albums of 2016.
They always put on a good show of psychedelic R&B, and seeing them in probably the smallest venue so far (for me, at least) at VIVA PHX is going to be a treat.
Keep your mind open.
Froth is a synth-psych band that started as a joke and became a cult hit. Their sound ranges from wild Failure-like guitar riffs to quirky krautrock keys. Their 2013 album Patterns was one of my favorites of that year. I missed them at Levitation Austin that year when they opened for Metz and A Place to Bury Strangers at the Thursday night festival kick-off show, and I heard they put on a good set. It’s high time I catch up with them.
Keep your mind open.
Hailing from Los Angeles, psychedelic rock duo Jjuujjuu create massive desert soundscapes through Phil Pirrone’s guitar work and Ryan Knights’ drumming. Their new single, “Bleck,” is a wallop of distortion, reverb, and mind-altering chord progressions. I missed these guys a couple years back at Levitation Austin. I got there just as their set ended and the crowd went wild for them, so I’m keen on starting out my VIVA PHX festival by getting my face melted.
Keep your mind open.
Psych-rock duo Ancient River (James Barreto – guitar and vocals, Alex Cordova – drums and synths) moved to Austin, Texas last year to fully embrace the psychedelic music scene there and the weird creative vibe of the place has led them to explore multiple music genres and play whatever they feel like playing. That freedom gives us O.D.D.S. II, a new album that collects tracks that don’t fit into one category.
The opener, “Welcome to the Underground,” is psychedelic guitars mixed with tribal drums and ghost-voice synths. “As I Am” is a wall-flattening rocker with Barreto and Cordova going for broke on their respective instruments, and Barreto not really giving a damn if you understand the lyrics.
“You Are They Light” is a groovy mix of hippie-psych and swirling shoegaze. It sounds like something the Beatles might’ve done on Rubber Soul if they’d eaten peyote before recording the album. They cut loose again on the appropriately named “Playground.” The guitars are as soaring as a kid on a swing and the drums are as bonkers as another kid on a merry-go-round.
“Let’s Open the Sky” is the track that is probably the closest to “classic” Ancient River (if you’ve heard all their material). It’s Barreto’s space-rock guitars and heavily reverbed vocals and Cordova’s Joy Division-influenced drumming assaulting you with walls of sound that come at you in all directions. I can’t wait to hear this one live. “Eleven” is a near chill-out instrumental, whereas “Russian Surf Party” is an instrumental for a movie score featuring hot Russian femme fatale vampires who spend their nights at the beach.
“Time for Giving” soars around your speakers like a comet and reminds me of some of Matthew Sweet’s early 1990’s work. “My Sonic Temple” refers to, I’m guessing, Barreto’s mind. It’s a wild ride of rolling cymbals and desert wind guitars and is probably the soundtrack to Ancient River’s recording sessions, let alone their walk down to the coffee shop.
Despite its name, “Last Song” isn’t the last song on the record. That is saved for “Star Boy.” “Last Song” is a slowly building mind trip that reminds me of sitting atop mountains in Tucson while a dust devil twirls miles away in the distance. “Star Boy” builds in a similar manner and sounds like something that was playing on Frank’s headset as he was floating away from the Discovery 1 in 2001: A Space Odyssey.
O.D.D.S. II is a good collection of psych-rock, space rock, and shoegaze that lets Ancient River stretch their muscles and cut loose. Get odd. You need to cut loose now and then.
Keep your mind open.
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