| October 25th, 2005 09:29 AM |
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| lotsajizz |
from this morn's NY Times...
When venerable rock bands mobilize their management, their lawyers, their crews and matériel, and go back on the road, there's usually some degree of padding in their shows. A horn section, backup singers, an extra guitarist or keyboardist in the shadows all buttress the sound, firming it up.
The major attraction of Cream's limited reunion is that it's only the three of them, as forceful or sludgy or spindly as they may be. You must factor in their age, the encroachment of mellower temperaments. But still, the band was recognizable last night at Madison Square Garden in its heavy greasiness, its stomp, its throaty singing and some of its blare.
Cream existed only briefly in the late 60's and so is fixed in history a certain way, as purveyors of intense, long-form playing. Last night's efficient, more formalized set didn't conform to the historical record, but if you've been watching closely, you already know that. The band put on a series of shows in London in May, and the concert at the Garden generally adhered to those shows' set lists - and to the exact track order on the live album and DVD from those shows, "Royal Albert Hall" (Reprise), released three weeks ago.
Like the London shows, the concert heavily reinforced the notion of Cream as an overdriven blues band, with the band's versions of Skip James, Willie Dixon and Robert Johnson mixed in with its better-known originals, from "White Room" to "Sunshine of Your Love." ("Tales of Brave Ulysses" was the only surprise, a deviation from the new live album. "Never before done onstage," Eric Clapton declared when it was finished.)
But blues is Mr. Clapton's bread and butter, and he played it well, superbly at times; if there were few frenetic outbursts, he still played riffs beautifully, like the one in "Born Under a Bad Sign." Except when Mr. Clapton overpowered the sound with high-note soloing, Cream is a band with a low center of gravity, reinforced by Jack Bruce's bass playing and Ginger Baker's drumming. Holding his sticks at the bottom to wield maximum thump, Mr. Baker displayed a version of rock drumming that was at least half tom-toms.
Cream was at its best when cruising in mid-tempo or slower. In "Sweet Wine" there was a feeling of settling in, and the band did what great groups do: subtly adjust the dynamics around what you're supposed to hear, which in this case was one of Mr. Clapton's better solos. In "Stormy Monday," the audience adjusted its own dynamics: when Mr. Clapton sped up his licks, organizing them into hectic focus, there was a rising, calibrated roar.
As a bonus in a clockwork show, there were even a few longueurs, like Mr. Bruce's extended harmonica solo in Muddy Waters's "Rollin' and Tumblin'," and "We're Going Wrong," full of slow, sticky dread.
You couldn't afford a ticket? It's really all right. Watch the DVD.
Cream will perform tonight and tomorrow night at Madison Square Garden
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| October 25th, 2005 07:11 PM |
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| Soldatti |
I'll buy thier new live album next Friday, the boots are great. |
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