Untitled Document CREAM-DISRAELI GEARS TYPE SINGLE LP-MONO LABEL/PRESSING INFO

REACTION VERY 1ST PRESS WITH POLYDOR MATRIX NUMBERS: 593003 A v 1 1 1 1 1 & 593003 B v 1 1 5 1 and MISPRINTED "Windfall Music" & "Apple Publishing" CREDITS .

CATALOGUE NUMBER 593003 YEAR OF RELEASE 1967 COUNTRY OF RELEASE U.K. SLEEVE TYPE SINGLE- Ernest J DAY Patent pending. FULLY LAMINATED INSERTS/EXTRAS

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  GRADING/CONDITION DISC(s)

EXCELLENT (REALLY CLEAN record with VERY LIGHT PLAYWEAR and a handful but noticable VERY LIGHT storage handling marks.- PLAYS REALLY WELL WITH A GREAT MONO REPRODUCTION

LABELS

EXCELLENT (CLEAN LABELS with NO writing rips tears stickers or removal marks with LIGHT spindleusage, and VERY LIGHT overall handling storage and ageing marks)

SLEEVE

 

Front board.Inner gatefold EX+

Nice Clean sleeve with NO writing rips or tears stickers or removal marks, FRONT LAMINATE is clean with only VERY LIGHT overall wear.

Rear Board EX Rear board is much as the front clean with NO writing, stickers, rips or tears and VERY LIGHT ageing and handling marking. Flipbacks N/A N/A Spine EX E J DAY wrapover spine. Complete with just a small bit of laminate loss in the centre Top & bottom edges EX- Top edge has light wear only, bottom has an inch or so of wear in the centre. Opening EX Opening has LIGHT usage and LIGHT wear Corners EX- Corners have some wear,spine ends is light. Bottom of the opening has some buffing and rounding with some bare card.   INNER /EXTRAS

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  DETAILS

Cream's second album is the one that people tend to obtain first, and most people would agree it's quintessential. It shows the band moving far past traditional twelve bar blues into psychedelic rock territory, but it also shows a kind of poetic nature that made the group stand out as the wise elders of the mid-1960's rock bands. Lyric samples such as, "Is there a reason for today?", "The rainbow has a beard", and "Tiny purple fishes run laughing through your fingers" are exemplary of this, and abstract phrasing has rarely worked so well within the confines on rock music.

Part of this may have been due to many outside writer's credits on the record, including Gail Collins, Pete Brown, Martin Sharp, and Felix Pappalardi; truly the band was a "supergroup" in many ways on this record. The album is perfectly sequenced, leading with two great lead singles on each side of the record and then following them up with more dreamy, experimental tracks. On the accessible side, opener "Strange Brew" is perhaps the defining twelve bar blues rock song of the era, as Eric Clapton's arpeggiated chord changes are strangely addictive and he sings falsetto through the entire tune. "Swlabr" combines the start/stop nature of the groups more progressive leanings with a driving rock riff that is never straightforward but very catchy. "Tales of Brave Ulysses" is the most mysterious track that seems to transport the listener back in time while telling them a demented story that may seem profound but makes little sense, while "Sunshine of Your Love" is the best example of Clapton using Bruce's descending bass lines as fodder for his distorted electric guitar showoffs (and when you can play as good as Eric Clapton, why not show it off?).

In the deeper cuts, "Dance the Night Away" has another one of those Cream choruses that defies the rules of vocal harmonies, not to mention chord changes that sound like they shouldn't work but somehow do. "Blue Condition" lets Ginger Baker get a song credit with a kind of turgid blues ballad that stomps along like a drunkard stumbling down the sidewalk. "World of Pain" and "We're Going Wrong" nearly lose all traces of rhythm with their ethereal melodies that transport the listener to the clouds. "Take It Back" is a catchy, albeit traditional blues rock tune that shows how the band easily pump out blues number after blues number if they felt like it; the same is true for their cover of Blind Joe Reynolds' "Outside Woman Blues". These great supporting album tracks bring a sort of lazy and relaxed vibe to the record that stands in contrast with the upbeat rocking singles.

In a way, Disraeli Gears is not Cream in its most representative form, as it cuts out most of the excess qualities they show on other albums. It works better as a distillation of the band's sound, as none of these songs run past five minutes but almost any of them could jam on for double their length.…

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