Cream were a British rock power trio formed in 1966 consisting of drummer Ginger Baker, guitarist/singer Eric Clapton and lead singer/bassist Jack Bruce. The group's third album, Wheels of Fire, is the world's first platinum-selling double album; the band is regarded as the world's first successful supergroup. In their career, they sold more than 15 million records worldwide, their music included songs based on traditional blues such as "Crossroads" and "Spoonful", modern blues such as "Born Under a Bad Sign", as well as more current material such as "Strange Brew", "Tales of Brave Ulysses" and "Toad". The band's biggest hits were "I Feel Free", "Sunshine of Your Love", "White Room", "Crossroads", "Badge"; the band made a significant impact on the popular music of the time, along with Jimi Hendrix and other notable guitarists and bands, popularised the use of the wah-wah pedal. They provided a heavy yet technically proficient musical theme that foreshadowed and influenced the emergence of British bands such as Led Zeppelin, Deep Purple and Black Sabbath in the late 1960s and the early 1970s.
They influenced American southern rock groups the Allman Brothers Band and Lynyrd Skynyrd. The band's live performances influenced progressive rock acts such as Rush. Cream were inducted into the Rock and Roll Hall of Fame in 1993, they were included in both Rolling Stone and VH1's lists of the "100 Greatest Artists of All Time," at number 67 and 61 respectively. They were ranked number 16 on VH1's 100 Greatest Artists of Hard Rock. By July 1966, Eric Clapton's career with the Yardbirds and John Mayall & the Bluesbreakers had earned him a reputation as the premier blues guitarist in Britain. Clapton, found the environment of Mayall's band confining, sought to expand his playing in a new band. In 1966, Clapton met Ginger Baker the leader of the Graham Bond Organisation, which at one point featured Jack Bruce on bass guitar and piano. Baker felt stifled in the Graham Bond Organisation and had grown tired of Graham Bond's drug addictions and bouts of mental instability. "I had always liked Ginger", explained Clapton.
"Ginger had come to see me play with the Bluesbreakers. After the gig he drove me back to London in his Rover. I was impressed with his car and driving, he was telling me that he wanted to start a band, I had been thinking about it too."Each was impressed with the other's playing abilities, prompting Baker to ask Clapton to join his new, then-unnamed group. Clapton agreed, on the condition that Baker hire Bruce as the group's bassist. Clapton had met Bruce when the bassist/vocalist played with the Bluesbreakers in November 1965. Impressed with Bruce's vocals and technical prowess, Clapton wanted to work with him on an ongoing basis. In contrast, while Bruce was in Bond's band, he and Baker had been notorious for their quarrelling, their volatile relationship included the sabotage of one another's instruments. After Baker fired Bruce from the band, Bruce continued to arrive for gigs. Baker and Bruce put aside their differences for the good of Baker's new trio, which he envisioned as collaborative, with each of the members contributing to music and lyrics.
The band was named "Cream", as Clapton and Baker were considered the "cream of the crop" amongst blues and jazz musicians in the exploding British music scene. The group were referred to and billed as "The Cream", but starting with its first record releases, the trio came to be known as "Cream". Before deciding upon "Cream", the band considered calling themselves "Sweet'n' Sour Rock'n' Roll". Of the trio, Clapton had the biggest reputation in England; the band made its unofficial debut at the Twisted Wheel on 29 July 1966. Its official debut came two nights at the Sixth Annual Windsor Jazz & Blues Festival. Being new and with few original songs to its credit, they performed blues reworkings that thrilled the large crowd and earned it a warm reception. In October the band got a chance to jam with Jimi Hendrix, who had arrived in London. Hendrix was a fan of Clapton's music, wanted a chance to play with him onstage, it was during the early organisation that they decided Bruce would serve as the group's lead vocalist.
While Clapton was shy about singing, he harmonised with Bruce and, in time, took lead vocals on several Cream tracks including "Four Until Late", "Strange Brew", "World of Pain", "Outside Woman Blues", "Crossroads", "Badge". The band's debut album, Fresh Cream, was recorded and released in 1966; the album reached number 39 in the United States. It was evenly split between self-penned originals and blues covers, including "Four Until Late", "Rollin' and Tumblin'", "Spoonful", "I'm So Glad" and "Cat's Squirrel." The rest of the songs were written by either Jack Ginger Baker. The track "Toad" contained one of the earliest examples of a drum solo in rock music as Ginger Baker expanded upon his early composition "Camels and Elephants", written in 1965 with the Graham Bond Organisation. Early Cream bootlegs display a much tighter band showcasing more songs. All of the songs are reasonably short five-minute version
A recording studio is a specialized facility for sound recording and audio production of instrumental or vocal musical performances, spoken words, other sounds. They range in size from a small in-home project studio large enough to record a single singer-guitarist, to a large building with space for a full orchestra of 100 or more musicians. Ideally both the recording and monitoring spaces are specially designed by an acoustician or audio engineer to achieve optimum acoustic properties. Recording studios may be used to record singers, instrumental musicians, voice-over artists for advertisements or dialogue replacement in film, television, or animation, foley, or to record their accompanying musical soundtracks; the typical recording studio consists of a room called the "studio" or "live room" equipped with microphones and mic stands, where instrumentalists and vocalists perform. The engineers and producers listen to the live music and the recorded "tracks" on high-quality monitor speakers or headphones.
There will be smaller rooms called "isolation booths" to accommodate loud instruments such as drums or electric guitar amplifiers and speakers, to keep these sounds from being audible to the microphones that are capturing the sounds from other instruments or voices, or to provide "drier" rooms for recording vocals or quieter acoustic instruments such as an acoustic guitar a or fiddle. Major recording studios have a range of large and hard-to-transport instruments and music equipment in the studio, such as a grand piano, Hammond organ, electric piano. Recording studios consist of three or more rooms: The "live room" of the studio where the vocalists sing and instrumentalists play their instruments, with their singing and playing picked up by microphones and, for electric and electronic instruments, by connecting the instruments' outputs or DI unit outputs to the mixing board. Isolation booths are small sound-insulated rooms with doors, designed for instrumentalists. Vocal booths are designed rooms for singers.
In both types of rooms, there are windows so the performers can see other band members and the audio engineer/record producer, as singers and musicians give or receive visual cues. This equipment may make noise. Recording studios are designed around the principles of room acoustics to create a set of spaces with the acoustical properties required for recording sound with precision and accuracy; this will consist of both room treatment and soundproofing to prevent sound from leaving the property. A recording studio has to be soundproofed on its outer shell as well, to prevent noises from the surrounding streets and roads from being picked up by microphones. A recording studio may include additional rooms, such as a vocal booth—a small room designed for voice recording, as well as one or more extra isolation booths for loud guitar stacks and extra control rooms. Though sound isolation is a key goal, the musicians, audio engineers and record producers still need to be able to see each other, to see cue gestures and conducting by a bandleader.
As such, the "live room", isolation booths, vocal booths and control room have windows. Equipment found in a recording studio includes: A large professional-grade mixing console Additional small mixing consoles with 4, 8 or 16 channels, for adding more channels A large number of preamplifiers for microphones, such as the Neve 1272 and Neve 3104 Multitrack recorder Computers A wide selection of microphones. Studios have Neuman Tube mics, AKG tube mics, RCA ribbon mics, a number of Shure SM 57 and SM 58 mics. A large number of DI unit boxes Two or more record players Syncs A wide variety of microphone stands (boom stands, straigh
UK Singles Chart
The UK Singles Chart is compiled by the Official Charts Company, on behalf of the British record industry, listing the top-selling singles in the United Kingdom, based upon physical sales, paid-for downloads and streaming. The Official Chart, broadcast on BBC Radio 1 and MTV, is the UK music industry's recognised official measure of singles and albums popularity because it is the most comprehensive research panel of its kind, today surveying over 15,000 retailers and digital services daily, capturing 99.9% of all singles consumed in Britain across the week, over 98% of albums. To be eligible for the chart, a single is defined by the Official Charts Company as either a'single bundle' having no more than four tracks and not lasting longer than 25 minutes or one digital audio track not longer than 15 minutes with a minimum sale price of 40 pence; the rules have changed many times as technology has developed, the most notable being the inclusion of digital downloads in 2005 and streaming in July 2014.
The OCC website contains the Top 100 chart. Some media outlets only list the Top 75 of this list; the chart week runs from 00:01 Friday to midnight Thursday, with most UK physical and digital singles being released on Fridays. From 3 August 1969 until 5 July 2015, the chart week ran from 00:01 Sunday to midnight Saturday; the Top 40 chart is first issued on Friday afternoons by BBC Radio 1 as The Official Chart from 16:00 to 17:45, before the full Official Singles Chart Top 100 is posted on the Official Charts Company's website. A rival chart show, The Vodafone Big Top 40, is based on iTunes downloads and commercial radio airplay across the Global Radio network only, is broadcast on Sunday afternoons from 16:00 to 19:00 on 145 local commercial radio stations across the United Kingdom; the Big Top 40 is not regarded by the industry or wider media. There is a show called "Official KISS Top 40", counting down 40 most played songs on Kiss FM every Sunday 17:00 to 19:00; the UK Singles Chart began to be compiled in 1952.
According to the Official Charts Company's statistics, as of 1 July 2012, 1,200 singles have topped the UK Singles Chart. The precise number of chart-toppers is debatable due to the profusion of competing charts from the 1950s to the 1980s, but the usual list used is that endorsed by the Guinness Book of British Hit Singles and subsequently adopted by the Official Charts Company; the company regards a selected period of the New Musical Express chart and the Record Retailer chart from 1960 to 1969 as predecessors for the period prior to 11 February 1969, where multiples of competing charts coexisted side by side. For example, the BBC compiled its own chart based on an average of the music papers of the time; the first number one on the UK Singles Chart was "Here in My Heart" by Al Martino for the week ending date 14 November 1952. As of the week ending date 18 April 2019, the UK Singles Chart has had 1352 different number-one hits; the current number-one single is "Someone You Loved" by Lewis Capaldi.
Before the compilation of sales of records, the music market measured a song's popularity by sales of sheet music. The idea of compiling a chart based on sales originated in the United States, where the music-trade paper Billboard compiled the first chart incorporating sales figures on 20 July 1940. Record charts in the UK began in 1952, when Percy Dickins of the New Musical Express gathered a pool of 52 stores willing to report sales figures. For the first British chart Dickins telephoned 20 shops, asking for a list of the 10 best-selling songs; these results were aggregated into a Top 12 chart published in NME on 14 November 1952, with Al Martino's "Here in My Heart" awarded the number-one position. The chart became a successful feature of the periodical. Record Mirror compiled its own Top 10 chart for 22 January 1955; the NME chart was based on a telephone poll. Both charts expanded in size, with Mirror's becoming a Top 20 in October 1955 and NME's becoming a Top 30 in April 1956. Another rival publication, Melody Maker, began compiling its own chart.
It was the first chart to include Northern Ireland in its sample. Record Mirror began running a Top 5 album chart in July 1956. In March 1960, Record Retailer had a Top 50 singles chart. Although NME had the largest circulation of charts in the 1960s and was followed, in March 1962 Record Mirror stopped compiling its own chart and published Record Retailer's instead. Retailer began independent auditing in January 1963, has been used by the UK Singles Chart as the source for number-ones since the week ending 12 March 1960; the choice of Record Retailer as the source has been criticised. With available lists of which record shops were sampled to compile the charts some shops were subjected to "hyping" but, with Record Retailer being less followed than some charts, it was subject to less hyping. Additionally, Retailer was set up by independent record shops and had no funding or affiliation with record companies. However, it had a smaller sample size than some ri
Fresh Cream is the debut studio album by the British rock band Cream. The album was released in the UK on 9 December 1966, as the first LP on the Reaction Records label, owned by producer Robert Stigwood; the UK album was released in both mono and stereo versions, at the same time as the release of the single "I Feel Free". The album was released in a different form in January 1967 by Atco Records in the US in mono and stereo versions; the album peaked at No. 6 on the UK Albums Chart and No. 39 on the U. S. Albums Chart; the mono versions were deleted not long after release and for many years only the stereo recordings were available. The UK mono album was reissued on CD for the first time in Japan, by Universal Music, in late 2013 as part of a deluxe SHM-CD and SHM-SACD sets. In January 2017, the album was again reissued, by Polydor, in a 4-CD box-set containing mono and stereo versions of the original UK and US release along with singles and B-sides. Bass player Jack Bruce said that the opening song "N.
S. U." was written for the band's first rehearsal. "It was like an early punk song... the title meant "non-specific urethritis. It didn't mean an NSU Quickly -, one of those little 1960s mopeds. I used to say. I can't tell you which one... except he played guitar." In 2003, the album was ranked number 101 on Rolling Stone magazine's list of the 500 greatest albums of all time. Uncut describes the songs as "all about playing in a band and relaxing, the joy of being young, they walk it like they talk it, being jumping-off points for wonderful spur-of-the moment improvisations." Writing for the BBC, Sid Smith notes that "blues and rock magically starts to coalesce to create something brand new". Stephen Thomas Erlwine of Allmusic believes the record to be "instrumental in the birth of heavy metal and the birth of jam rock". A release in the U. S. on RSO/Polydor uses the same track listing as the original UK edition given above, with the addition of the song "I Feel Free" as track 1. Polydor's CD release from the 1980s included the same track list but added "The Coffee Song" and "Wrapping Paper," which were removed from a second CD release in the 1990s.
An edition released only in Sweden in 1966 was a 12-track release like that in the UK which added two tracks: "Wrapping Paper", written by Jack Bruce and Pete Brown, "The Coffee Song", written by Tony Colton and Ray Smith. Both vinyl and cover were made in Germany and exported to the Swedish market only – the German original had the same 10 tracks as the UK; the group didn't want "Coffee Song" to be issued at all, but a mono version was mixed and coupled with "Wrapping Paper" as a single. There were no plans at this stage to release it in stereo, so for the Swedish issue, a crude stereo mix was used; this was made during the sessions in early August 1966 for instructive purpose – the whole track as basic mono is mixed far right and a solo guitar overdub far left. Never intended for release, this mix was soon lost and for stereo issues a new one was made; the front cover and record no. are the same as the German issue, but three different back covers exist. The first listed the correct 12 tracks, the second listed 10 tracks, a third where the 12 track listing has been "glued" over the 10 track listing.
Ginger Baker – drums, vocals Jack Bruce – vocals, bass guitar, piano Eric Clapton – guitar, vocals Robert Stigwood – producer John Timperley – engineer The making of Fresh Cream - from the Official Ginger Baker Archive
Peter Ronald Brown is an English performance poet and singer best known for his collaborations with Cream and Jack Bruce. Brown formed the bands Pete Brown & His Battered Ornaments and Pete Brown & Piblokto! and worked with Graham Bond and Phil Ryan. He writes film scripts and formed a film production company. Brown was born in Surrey. Before his involvement with music, he was a poet, having his first poem published in the U. S. magazine Evergreen Review when he was 14. He became part of the poetry scene in Liverpool during the 1960s and in 1964 was the first poet to perform at Morden Tower in Newcastle, he formed The First Real Poetry Band with John McLaughlin, Binky McKenzie, Laurie Allan and Pete Bailey. The First Real Poetry Band brought Brown to the attention of Cream, he was seen as a writing partner for drummer Ginger Baker, but the group discovered that he worked better with bassist Jack Bruce. Of the situation, Bruce remarked "Ginger and Pete were at my flat trying to work on a song but it wasn't happening.
My wife Janet got with Ginger and they wrote'Sweet Wine' while I started working with Pete."Together and Bruce wrote many of Cream's songs, including the hits "I Feel Free", "White Room" and "SWLABR" and "Sunshine of Your Love". After the break-up of Cream and Brown continued to write songs together. Brown wrote the lyrics for most of Bruce's solo albums. Brown formed Pete Brown and His Battered Ornaments in 1968, in 1969 the band recorded two albums. Brown suffered the ignominy of being thrown out of his own band, the day before they were due to support the Rolling Stones at Hyde Park, his vocals were removed from Mantlepiece and re-recorded by Chris Spedding, the band was renamed The Battered Ornaments.'Piblokto!' was formed after Brown's dismissal from the Battered Ornaments, was active between 1969 and 1971. The original Piblokto! members were. Most of their releases were for Harvest Records. Allen was replaced by their drummer Rob Tait, they released their first single "Living Life Backwards" / "High Flying Electric Bird", followed by the album Things May Come and Things May Go but the Art School Dance Goes on Forever.
Bunn was replaced by Steve Glover for their second single, "Can't Get Off The Planet" / "Broken Magic" and the LP, Thousands on a Raft. Mullen and Tait left, so Brown and Glover were joined by Phil Ryan on keyboards, John'Pugwash' Weathers on drums and Brian Breeze on guitar; this line-up only recorded one single, "Flying Hero Sandwich"/"My Last Band". Weathers and Breeze both departed, to be replaced by guitarist Taff Williams and drummer Ed Spevock, before disbanding in Autumn 1971. Pete Brown went on to work with Graham Bond. Both albums, all three singles and several bonus tracks were reissued on a double album CD BGOCD522 in 2001; the band's name was taken from the Inuit word for "Arctic Hysteria", with symptoms including hysteria and echolalia. After Piblokto!, Brown started to work with Graham Bond, with input from Jack Bruce and Bond's wife, Diane Stewart. In 1972 they recorded one album, Two Heads Are Better Than One, a single, "Lost Tribe", much of the soundtrack to the film Maltamour before Bond left to form Magus in 1973.
Brown formed Brown and Friends, Flying Tigers but neither group got beyond producing demos. He recorded an album of his early poems, The Not Forgotten Association, in 1973 before recording with members of Back to the Front, including an album, Party in The Rain, recorded in 1976, but not released until 1982. On the rise of punk, he wrote film scripts, he wrote a film score for a BBC TV film, with Phil Ryan, in a late Piblokto! line-up. They collaborated for 12 years, Brown formed his own label Interoceter, which issued two Pete Brown/Phil Ryan albums: Ardours of the Lost Rake and Coals to Jerusalem, they began touring in 1993, a compilation of the two albums was issued on CD as The Land That Cream Forgot. In the 1990s Brown appeared with The Interoceters, performing his earlier material. A new Brown/Ryan album Road of Cobras, including Maggie Bell, Arthur Brown, Mick Taylor and Jim Mullen, was released in 2010. In 2004 he formed a film production company, with Mark A. J. Waters and Miran Hawke.
In 2010 he published Imaginary Westerns. A film with the same title is in production by Brown Waters. Pete Brown partnered with Gary Brooker writing lyrics for songs in Procol Harum's 2017 album Novum. "Pete the Poet", a track on guitarist John McLaughlin's debut album Extrapolation, is named after him. "Get", a song by Blurt about him and his model aeroplane collection. "Student Susan", a track on Japanese guitarist Saiichi Sugiyama's album So Am I, which Brown wrote with Sugiyama, is named after the former girlfriend of Stuart Sutcliffe of the Beatles whom Brown went out with in the Liverpool poetry scene in the early 1960s. Few Poems Let'Em Roll, Kafka The Old Pals' Ac