Cream
(Copyright © 1999 Piero Scaruffi | Legal restrictions - Termini d'uso )

Fresh Cream, 6/10
Disraeli Gears, 7/10
Wheels Of Fire, 7/10
Goodbye, 5/10
Jack Bruce: Songs For A Tailor (1969), 7.0/10
Jack Bruce: Things We Like (1970), 6.5/10
Jack Bruce: Harmony Row (1971), 6.5/10
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More than anyone else, it was Cream who changed the face of British rock music. They took the fusion of blues and rock pioneered by Alexis Korner and John Mayall to places where it had never been before. They employed a level of group improvisation that was worthy of free jazz. In fact, their music had basically three layers: a pop melody, lengthy solos inspired by free jazz, and a propulsive rhythm'n'blues beat. They indulged in guitar distortions and dissonant solos that were shocking for an audience raised on the Beatles. Even the soul-jazz melodies of Sunshine Of Your Love (1967) and White Room (1968), while not revolutionary, pointed towards a more sophisticated kind of "pop" than the childish refrains of Mersey-beat.
(Translated by Ornella C. Grannis)

Cream was the most successful of the blues revival bands, forcing British rock that at the time still fed on pop tunes, to an abrupt reversal of direction. The Who had already given it a try, and the Rolling Stones and the Yardbirds had already reformed the blues in a revolutionary way, while Bob Dylan had experimented with long topical songs on Blonde On Blonde. But it was Cream that made the new genre happen. Cream was the band that altered the format of the rock song: long free jams recorded live instead of three minutes of verse, bridge, and chorus recorded in the studio. They sold fifteen million albums in three years, a record that made the Beatles seem like losers.

The members of this power trio, formed in the autumn 1966, were all veterans of the blues revival. Guitarist Eric Clapton was the same prodigy who revealed himself with the Yardbirds, and who had contributed to the legendary recording of Bluesbreakers with John Mayall. Drummer Peter "Ginger" Baker, skilled at many forms of percussion, had already played, in 1960, with the Nigerian musician Fela Anikulapo Kuti, and in 1962 with Alexis Korner and the Graham Bond Organisation. Scottish bassist Jack Bruce had traveled some of the same roads as Baker, before joining Manfred Mann. Bruce and Clapton had met each other in the Powerhouse, a short-lived lineup put together by John Mayall, that also included Steve Winwood at the keyboard. With Cream these three virtuosos simply brought to fruition the experience that they developed in the London clubs, bringing to the rock concert stage long, electric, high volume improvisations.

Cream debuted with two singles: Wrapping Paper, that belongs to the early psychedelic era, and I Feel Free, the first taste of Clapton's solos. Fresh Cream (Atco, 1966) was an historic event: Clapton's high volume distortions, Baker's acrobatic style, and Bruce's melodic atmosphere raised ordinary and rather poor material (mostly covers, except for Toad by Baker and NSU by Bruce) to the highest levels. The compositions of Jack Bruce take over on Disraeli Gears (1967), an album decidedly more pop and less bluesy, produced by Felix Pappalardi. Strange Brew is a typical example of how the group could transform blues into rock for intellectuals who were tired of Beatles pop tunes. Tales Of Brave Ulysses, Clapton's tour de force, features the introduction of the wah-wah pedal. Sunshine Of Your Love, a long collective delirium based on one of Bruce's catchy and obsessive riffs, remains their masterpiece.

Their fame came with their concerts, which in America instituted a social shock as important as the love-ins of the hippies. Clapton, fast and incisive, Bruce, pulsating and powerful, and Baker, loud and overflowing, created a new standard for popular music.

Wheels Of Fire (Polydor, 1968) is a schizophrenic album that contains two LPs: one live blues record and one studio pop record. Here Pappalardi earns the title of the fourth Cream, arranging, composing and playing various instruments. In an attempt perhaps to imitate colleague and rival George Martin, who had just wrapped up Sgt. Pepper, Pappalardi inflated overdubs, electronic effects and classical instrumentation, such as harpsichord, bells and violins. The meticulous patience of the producer actually works only in Pressed Rat And Warthog, a model psychedelic song. To counterbalance the studio production, the live recording bursts with energy, thanks to anarchical jams and audacious solos by Clapton and Baker. White Room's epic cadence and Politician's stentorian riff glorify the machismo of the supergroup par excellence of the time. Although Clapton and Baker were more acclaimed by the crowds, Jack Bruce was the true craftsman of their sound, branding it with his undaunted singing and stunning bass abstractions. He was also responsible for most of the songs, often composed in collaboration with the poet Pete Brown, another figure who operated behind the scenes but was essential to their success. Their electrified blues had the merit of refusing all embellishments (see their version of Crossroads), but also the defect of being too self-indulgent (see their version of Howling Wolf's Spoonful and Toad's 17-minute solo).

When Goodbye was released (1969), the trio didn't have anything else to say. The three musicians had already launched separated careers. Bruce had entrusted his songs to progressive keyboards while Baker used his songs to showcase his megalomania. Badge, co-written by Clapton and George Harrison, is a catchy pop tune of scarce impact.

Their instant ascent ended abruptly on November 26, 1968, with an historic farewell concert at the Royal Albert Hall .

Quite overrated at the time, the band was yet another factory of consumerism sustained by childish exaggeration. Their mile-long solos were nothing more than an advertising gimmick. However there is no denying that hard rock was born out of Bruce's slashing heavy metal bass and from the foppish contortions of Eric "Slow Hand" Clapton.

Live II (Polydor, 1972) is the album that contains their best jams. The first volume contains more conventional blues-rock.

It is curious how Bruce ended up playing jazz and Clapton playing soul. After a brief stint in another supergroup, Steve Winwood's Blind Faith, for which he wrote the solemn hymn Presence Of The Lord, Clapton, a veteran at 25 by way of the Roosters, Yardbirds, Bluesbreakers, and Cream, relocated to the USA and became part of Leon Russell's entourage. He played with Delaney & Bonnie, brought J.J.Cale's After Midnight to the charts (on Eric Clapton, Atco, 1970), and formed Derek & Dominoes for whom he wrote Bell Bottom Blues and Layla on the double album Layla (Atco, 1970), that also employs the talents of another guitar legend, Duane Allman. Plagued by heroin dependency, Clapton dropped from the scene for some years, but returned triumphant with 461 Ocean Boulevard (Atco, 1974), that includes his version of Bob Marley's I Shot The Sheriff. His laid-back style, copied from J.J. Cale, spiced with gospel, soul and reggae, sold millions of progressively more banal albums: There' s One In Every Crowd (Atco, 1975), No Reason To Cry (RSO, 1976), with Dylan and the Band, Slowhand (RSO, 1977), that includes the famous version of Cocaine, Backless (RSO, 1978), with Lay Down Sally (one of his few compositions) and Tell Me That You Love Me, Another Ticket (RSO, 1981), with I Can' t Stand It, Money And Cigarettes (Warner, 1983), Behind The Sun (Warner, 1985), with electronic arrangements and the ferocious rhythm and blues of Tangled In Love, and August (1987), with Tearing Us Apart, a duet sung with Tina Turner. Then he had to return to the clinic, this time for alcoholism. His life also was marked by a series of passings, including that of his four years old son, who fell from a window of a New York skyscraper. Tears In Heaven (1993), inspired by that misfortune, brought him back to the top, and the successive album, From The Cradle (Reprise, 1994), a collection of blues covers, became the best selling album of all time. Subject of the tabloids more than of the history of rock, Clapton has widely demonstrated that he was Cream's showman. Crossroads (Polydor, 1988) is a very good anthology. After the mediocre parlor soul of Journeyman (Polydor, 1989), exemplified by Bad Love, Clapton dropped from the scene again. He came back again with Pilgrim (Reprise, 1998), an album of orchestral rhythm and blues that contains his deepest and most intimate reflections on the meaning of life, Pilgrim and Inside Of Me.

In the 70s, after he moved to Nigeria, Ginger Baker recorded an enormous number of albums to prove his dexterity at percussion, and his sincere passion for world music. The more he recorded, the less his dexterity seemed real. Then he stopped playing for a few years, plagued by heroin. To start a new life he moved to Italy, where he managed an olive grove. The only significant work of the 80s, back on stage, in the States, is a collaboration with a jazz-rock ensemble of great class that allowed him to record the best albums of his career: Horses And Trees (Celluloid, 1986), the album that represents better than any other his pan-ethnic ambitions, with Nana Vasconcelos, L Shankar, Nicky Skopelitis, and Bill Laswell; Middle Passage (Axiom, 1990), with Bill Laswell, Jonas Hellborg and Jah Wobble at the bass, Nicky Skopelitis at the guitar, Jonas Hellborg, Bernie Worrell at the organ and four Africans percussionists; and Unseen Rain (Day Eight, 1992), at the time the jazziest album of his career. In 1990 he was hired by the rock band Masters Of Reality. In 1994 he joined Bruce and another English veteran, Gary Moore, to record Around The Next Dream (Virgin, 1994). Also in the same year he formed an exceptional trio of his own with the bassist Charlie Haden and the guitarist Bill Frisell, immortalized on Going Back Home (Atlantic, 1994) and on Falling Off The Roof (Atlantic, 1996). Coward Of The Country (Atlantic, 1999) even employs an octet, with music composed by Ron Miles.

Immediately after the dissolution of Cream, Jack Bruce began to collaborate with jazz musicians. His Songs For For A Tailor (Atco, 1969) is an original attempt at creating a folk-rock song with the austerity of classical music and the atmosphere of jazz: Weird Of Hermiston is linked to Cream's first surrealistic singles, while Theme For An Imaginary Western remains his masterpiece. Rope Ladder To The Moon and Never Tell Your Mother are demonstrations of his uncanny ability to fuse jazz, rock, soul and blues. Things We Like (Atco, 1970) is a jam session with sax player Dick Heckstall-Smith of the Colosseum, jazz guitarist John McLaughlin and others. For a couple of years he played in the Tony Williams Group, and in 1972 in the Carla Bley Orchestra. Harmony Row (Atco, 1971) is a reprise of his plan to reinvent the rock song: Victoria Sage is another spectral ballad, while You Turned The Tables On Me is a piece of progressive rock. His most ambitious album was, alas, also his last relevant one. Bruce also tried to recreate the magic of Cream with another super-trio, West Bruce & Laing, but soon returned to his sophisticated songs with the albums Out Of The Storm (RSO, 1974) and How' s Tricks (RSO, 1977). I've Always Wanted To Do This (Epic, 1980) is a session with the jazz drummer Billy Cobham and a guitar player. Truce (Chrysalis, 1982), credited to BLT, a collaboration between Bruce and guitarist Robin Trower, still betrays hard-rock temptations. Willpower (Chrysalis, 1989) is a great anthology. After a detox period, Bruce recorded two of his best albums: A Question Of Time (Epic, 1989), that includes Hey Now Princess, and Somethinelse (CMP, 1993) with Pete Brown, Eric Clapton, Dick Heckstall-Smith and others. Willpower is one of his absolute best performances. Cities Of The Heart (CMP, 1994) is a live recording of his fiftieth birthday celebration. Shadows In The Air (Sanctuary, 2001) is actually an album by Kip Hanrahan on which Bruce sings pieces of latin-jazz.

Pete Brown formed the Battered Ornaments first and then the Piblokto, whose Things May Come and Things May Go But The Art School Dance Goes On Forever (Harvest, 1970) is a bizarre experiment of folk, in Golden Country Kingdom and Country Morning, blues, world-music and psychedelia, in Fire Song. The arrangements of Walk For Charity Run For Money, Then I Must Go and Can I Keep are particularly demented.

I Cream vengono comunemente ricordati come il gruppo che invento` l'hard-rock, ma in realta` appartenevano ancora alla generazione del blues revival.

I Cream furono il complesso di maggior successo del blues revival, e rappresentarono una brusca inversione rotta per il rock britannico che, di fatto, viveva ancora di canzonette. Gli Who ci avevano gia` provato, e naturalmente i Rolling Stones e gli Yardbirds avevano gia` deformato il blues in maniera rivoluzionaria, e Bob Dylan aveva gia` sperimentato con lunghi brani a tema su Blonde On Blonde. Ma furono i Cream a farne un genere di successo e ad alterare il formato della canzone rock: lunghe jam libere dal vivo invece dei tre minuti con ritornello e ponte registrati in studio; brani impostati sull'improvvisazione libera di chitarra, basso e batteria invece delle melodie di tre minuti arrangiate con strumenti dell'orchestra. Vendettero quindici milioni di album in tre anni, un record che fece sembrare i Beatles dei falliti.

I membri di questo power-trio, formato nell'autunno 1966, erano tutti e tre veterani del blues revival. Il chitarrista Eric "Clapton" Clapp era lo stesso enfant prodige che si era rivelato negli Yardbirds e che aveva appena partecipato all'incisione del leggendario Bluesbreakers di John Mayall (e il sound dei Cream era di fatto una continuazione di quello di Smokestack Lightning su Five Live Yardbirds). Il batterista Peter "Ginger" Baker, abile a tutte le percussioni, che gia` nel 1960 aveva suonato con il musicista nigeriano Fela Anikulapo Kuti e si era fatto le ossa fin dal 1962 prima con Alexis Korner e poi nella Graham Bond Organisation. Il bassista scozzese Jack Bruce gli era stato compagno di strada prima di entrare nei Manfred Mann. Bruce e Clapton si erano conosciuti nei Powerhouse, una formazione allestita per pochi mesi da John Mayall (che annoverava anche Steve Winwood alle tastiere). Nei Cream questi tre virtuosi misero semplicemente a frutto le esperienze maturate nei club londinesi, portandole sui grandi palcoscenici dei concerti rock e caratterizzandosi in lunghe improvvisazioni elettriche ad alto volume.

I Cream esordirono con due singoli: Wrapping Paper, che appartiene alla prima stagione psichedelica, e I Feel Free, il primo assaggio degli assoli di Clapton. Fresh Cream (Atco, 1966) fu un avvenimento storico: le distorsioni e il "wah-wah" di Clapton, lo stile acrobatico di Baker e le melodie atmosferiche di Bruce facevano passare in secondo piano il materiale, che era piuttosto scadente (quasi tutte cover, ma anche l'assolo Toad di Baker e NSU di Bruce). Le composizioni di Bruce presero il sopravvento su Disraeli Gears (1967), prodotto da Felix Pappalardi, un album infinitamente piu` pop e meno blues. Strange Brew era tipica di come il gruppo poteve trasformare il blues in rock per intellettuali stanchi delle canzoncine dei Beatles (l'assolo di Clapton e` rubato al repertorio di Albert King). Tales Of Brave Ulysses e` il tour de force di Clapton. Sunshine Of Your Love, un lungo delirio collettivo basato su un riff orecchiabile e ossessivo di Bruce, rimane il loro capolavoro.

La fama venne loro dai concerti, che costituirono uno shock sociale tanto quanto i love-in degli hippie in America. Clapton, veloce e incisivo, Bruce, pulsante e ringhioso, e Baker, straripante e rumoroso, crearono un nuovo stereotipo per la musica di consumo.

Il doppio Wheels Of Fire (Polydor, 1968) e` un album schizofrenico, che presenta tanto la versione blues (il disco registrato dal vivo) quanto quella pop (il disco registrato in studio) del gruppo. Pappalardi si guadagna qui il titolo di quarto Cream, arrangiando, componendo e suonando diversi strumenti. Forse volendo imitare il collega e rivale George Martin, che aveva appena pennellato Sgt Pepper, Pappalardi esagero` in overdub, effetti elettronici e strumenti classici (clavicembali, campanelli, violini). Il lavoro certosino del produttore funziona praticamente soltanto in Pressed Rat And Warthog, un'ottima canzone psichedelica. Il disco dal vivo scoppia invece di salute, grazie ad audaci assoli di Clapton e Baker e a jam anarchiche. L'epica cadenzata di White Room e il riff stentoreo di Politician mandano in gloria il machismo del supergruppo per antonomasia dell'epoca. In realta` e` Bruce, che marchia il sound con il suo canto grintoso i con suoi stordenti giri di basso, il vero artefice del sound, anche se agli altri due sono piu` acclamati dalle folle. Suoi sono anche gran parte dei loro classici, spesso composti in coppia con il poeta Pete Brown, altro cervello che agi` dietro le quinte ma fu determinante per il loro successo. Il loro blues elettrificato aveva il merito di rifiutare il calligrafismo (vedi la loro versione di Crossroads), ma il difetto di essere auto-indulgente (vedi la loro versione della Spoonful di Howling Wolf e l'assolo di batteria di 17 minuti su Toad).

Il trio su Goodbye (1969) non aveva piu` nulla da dire. tre musicisti ormai avviati a carriere separate, con le Le canzoni di Bruce erano affidate alle tastiere progressive. Quelle di Baker erano soprattutto vetrine per la sua megalomania. Badge (scritta da Clapton e George Harrison) era una canzoncina orecchiabile di scarso impatto.

La loro fulminea ascesa termino` bruscamente il 26 novembre 1968 con uno storico concerto d'addio alla Royal Albert Hall.

Alquanto sopravvalutato ai tempi, il complesso non fu null'altro che un'ennesima fabbrica di mito consumistico sostenuta da esagerazioni puerili. I loro chilometrici assoli erano piu` che altro una trovata pubblicitaria. L'hard-rock nacque comunque dai fendenti di basso di Bruce e l'heavy-metal dalle contorsioni vanesie di Eric "Slow Hand" Clapton.

Live II (Polydor, 1972) e` l'album che contiene le loro piu` leggendarie jam dal vivo (il primo volume contiene blues-rock piu` convenzionali).

E` curioso che, invece, Bruce fini` a suonare jazz e Clapton a suonare soul. Dopo aver figurato ancora in un altro supergruppo, i Blind Faith (Polydor, 1969) di Steve Winwood, per i quali scrisse l'inno solenne di Presence Of The Lord, Clapton, gia` un veterano a soli 25 anni (Roosters, Yardbirds, Bluesbreakers, Cream), si trasferi` in USA e entro` a far parte dell'entourage di Leon Russell. Suono` con Delaney & Bonnie, porto` al successo After Midnight di J.J.Cale su Eric Clapton (Atco, 1970), e formo` i Derek & Dominoes per cui scrisse Bell Bottom Blues e Layla sul doppio Layla (Atco, 1970), che si avvale anche dell'altro dio della chitarra Duane Allman. La reissue The Layla Sessions (1990) contiene un disco di jam sessions inedite che restano fra le performance migliori della sua carriera. Afflitto da dipendenza all'eroina, Clapton spari` dalle scene per qualche anno, ma rientro` trionfalmente con 461 Ocean Boulevard (Atco, 1974), che contiene la sua versione di I Shot The Sheriff di Bob Marley. Il suo stile "laid-back", copiato da J.J. Cale, speziato di gospel, soul e reggae, fece vendere milioni di copie ai suoi album, benche' fossero sempre piu` banali: There's One In Every Crowd (Atco, 1975), No Reason To Cry (RSO, 1976), che si avvale della Band e di Dylan in persona, Slowhand (RSO, 1977), con la celebre versione della Cocaine di J.J. Cale, Backless (RSO, 1978), con Lay Down Sally (una delle sue poche composizioni) e Tell Me That You Love Me, Another Ticket (RSO, 1981), con I Can't Stand It, Money And Cigarettes (Warner, 1983), e Behind The Sun (Warner, 1985), con arrangiamenti elettronici e il feroce rhythm and blues di Tangled In Love, preludio al duetto Tearing Us Apart con Tina Turner, tratto da August (1987). Poi dovette tornare in clinica, questa volte per alcoolismo. La sua vita era anche contrassegnata da una serie impressionante di morti, culminate in quella di suo figlio di quattro anni (precipitato da un grattacielo di New York). Tears In Heaven (1993), ispirato da quella disgrazia, lo riporto` a galla e l'album successivo, From The Cradle (Reprise, 1994), una raccolta di cover, divenne l'album di blues piu` venduto di tutti i tempi. Personaggio della cronaca mondana piu` che delle storia del rock, Clapton ha ampiamente dimostrato che nei Cream faceva piu` che altro lo show-man. Crossroads (Polydor, 1988) e` un'ottima antologia. Dopo il mediocre soul da salotto di Journeyman (Polydor, 1989), meglio esemplificato da Bad Love, Clapton scomparve dalle scene. Torno` con Pilgrim (Reprise, 1998), un album di rhythm and blues orchestrale che in realta` nasconde la sua piu` profonda e intima meditazione sul significato della vita (Pilgrim, Inside Of Me).

Ginger Baker registro` una quantita` spropositata di album negli anni '70, dopo essersi trasferito in Nigeria, aventi come unico scopo quello di dimostrare la sua abilita` di percussionista (e una sincera passione per la world-music). Piu` registrava, e meno quell'abilita` sembrava reale. Smise di suonare per diversi anni, afflitto dall'eroina e poi deciso a rifarsi una vita in Italia gestendo un oliveto. L'unico lavoro significativo degli anni '80 e` Quando torno` sulle scene, negli USA, lo fece con ensemble jazz-rock di gran classe che gli consenti` di registrare i due migliori album della sua carriera: Horses And Trees (Celluloid, 1986), che meglio rappresenta le sue ambizioni pan-etniche (Nana Vasconcelos, L Shankar, Nicky Skopelitis, Bill Laswell); Middle Passage (Axiom, 1990), con Bill Laswell al basso, Nicky Skopelitis alla chitarra Jonas Hellborg, Jah Wobble e Bill Laswell al basso, Bernie Worrell all'organo e quattro percussionisti africani; e Unseen Rain (Day Eight, 1992), il piu` jazz della sua carriera fino a quel momento. Nel 1990 venne persino assunto da un complesso rock, i Masters Of Reality. Nel 1994 partecipo` a un disco con Bruce e con un altro veterano inglese, Gary Moore, Around The Next Dream (Virgin, 1994), e formo` un suo trio d'eccezione con il bassista Charlie Haden e il chitarrista Bill Frisell, immortalato su Going Back Home (Atlantic, 1994) e su Falling Off The Roof (Atlantic, 1996). Coward Of The Country (Atlantic, 1999) annovera persino un ottetto (la musica e` quasi tutta del compositore Ron Miles).

Subito dopo lo scioglimento dei Cream, Jack Bruce comincio` a collaborare con musicisti jazz. Il suo Songs For A Tailor (Atco, 1969) e` un originale tentativo di creare una canzone folk-rock con l'austerita` della musica classica e l'atmosfera del jazz: Weird Of Hermiston si riallaccia ai primi surreali singoli dei Cream e Theme For An Imaginary Western rimane forse il suo capolavoro, Rope Ladder To The Moon e Never Tell Your Mother sono esempi luminosi della sua jazz-rock-soul-blues fusion. Things We Like (Atco, 1970) e` una jam session con il sassofonista Dick Heckstall-Smith dei Colosseum, il chitarrista jazz John McLaughlin e altri. Per un paio d'anni suono` nel gruppo di Tony Williams e nel 1972 nell'orchestra di Carla Bley. Harmony Row (Atco, 1971) riprese il suo programma di reinventare la canzone rock con inflessioni ancor piu` jazz ed esperimenti ancor piu` audaci: Victoria Sage e` un'altra ballad spettrale, mentre You Burned The Tables On Me e` una piece di progressive-rock. Il suo album piu` coraggioso fu pero` anche l'ultimo di rilievo. Bruce provo` anche a ricreare la magia dei Cream con un altro super-trio, West Bruce & Laing, ma presto torno` alle sue canzoni sofisticate con Out Of The Storm (RSO, 1974), album molto minore, e How's Tricks (RSO, 1977), che contiene Without A Word e How's Tricks. I've Always Wanted To Do This (Epic, 1980) e` una session con il batterista jazz Billy Cobham e un chitarrista. Truce (Chrysalis, 1982), una collaborazione con il chitarrista hard-rock Robin Trower accreditata ai BLT, tradisce ancora tentazioni hard-rock. Willpower (Chrysalis, 1989) e` un'antologia degli anni '70, ma con troppa enfasi sui dischi peggiori. Dopo essersi disintossicato, Bruce registro` tre dei suoi album migliori: A Question Of Time (Epic, 1989), con Hey Now Princess, Somethinels (CMP, 1993) con Pete Brown, Eric Clapton, Dick Heckstall-Smith e altri (Willpower, gia` sull'antologia omonima, originariamente del 1987), e Monkjack (1995). Cities Of The Heart (CMP, 1994) e` un album dal vivo che celebra il suo 50esimo compleanno. Shadows In The Air (Sanctuary, 2001) e` in realta` un album di Kip Hanrahan che usa Bruce per cantare pezzi di latin-jazz.

Pete Brown formo` prima i Battered Ornaments e poi i Piblokto, il cui Things May Come and Things May Go But The Art School Dance Goes On Forever (Harvest, 1970) e` un bizzarro esperimento di folk (Golden Country Kingdom, Country Morning), blues, world-music e psichedelia (Fire Song). Gli arrangiamenti di Walk For Charity Run For Money e Then I Must Go And Can I Keep sono particolarmente demenziali.

Jack Bruce released the uninspired More Jack Than God (Sanctuary, 2003). Eric Clapton delivered an equally uninspired tribute to Robert Johnson, Me and Mr Johnson (Warner, 2004). Much better were the two albums of (mostly) original material, Reptile (2001) and Back Home (2005), but Clapton (2010) was again a collection of creative covers.

Jack Bruce died in october 2014 at the age of 71.

(Translation by/ Tradotto da xxx)

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