| Rola: | Strange Brew |
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| Traducción: | Brebaje extraño | |
| Intérprete: | Cream | |
| Compositor: | Eric Clapton, Felix Pappalardi, Gail Collins | |
| Disco: | Disraeli Gears | |
| Productor: | Felix Pappalardi | |
| Orden al bat: | 079 | |
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"Strange Brew" is a 1967 song by British supergroup Cream. Released in late May of that year as the lead single from their album Disraeli Gears, this song featured Eric Clapton on lead vocals rather than the usual lead by Jack Bruce. The single peaked at number 17 on the UK charts in June of that same year. The UK single release was the last Cream single to be released by Reaction Records. After the Murray "the K" Show Cream recorded a song called "Lawdy Mama" with Ahmet Ertegun at Atlantic Studios in New York. When Cream was working on the sessions for "Disraeli Gears", producer Felix Pappalardi took the tape of "Lawdy Mama" and with help from his wife Gail Collins transformed the song into "Strange Brew" which according to Eric Clapton "created a pop song without completely destroying the original groove." |
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![]("https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMNx1tdv0V9V5zYp3LOR8DWyckSv1Ku_PgMJ5iwEPE9R9TY98c-fxwsUXEn3iEI27uXHhEq5qvSkpjb4P4z6Xo0echmhFNjCogjOeWX_E27eMiIvG6Xf3aEzVIlBMTyfCvEIdfhK-jgQaY/s320/strange2.png) |
| Duración: | 02:51 |
| Año: | 1967 |
| Formato: | 7" |
| A la venta: | 01/11/1967 |
| Lado B: | Tales of Brave Ulysses |
| Disquera: | Reaction |
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Jack Bruce - bajo, armónica y voz Ginger Baker - batería, percusión y voz |
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Strange Brew
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Brebaje extraño
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Strange brew -- kill what's inside of you. She's a witch of trouble in electric blue, in her own mad mind she's in love with you. with you. now what you gonna do? strange brew -- kill what's inside of you. She's some kind of demon messing in the glue. if you don't watch out it'll stick to you. to you. what kind of fool are you? strange brew -- kill what's inside of you. On a boat in the middle of a raging sea, she would make a scene for it all to be ignored. and wouldn't you be bored? strange brew -- kill what's inside of you. Strange brew, strange brew, strange brew, strange brew. strange brew -- kill what's inside of you |
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LADO A 1. "Strange Brew" 2. "Sunshine of Your Love" 3. "World of Pain" 4. "Dance the Night Away" 5. "Blue Condition" |
LADO B 1. "Tales of Brave Ulysses" 2. "Swlabr" 3. "We're Going Wrong" 4. "Outside Woman Blues" 5. "Take It Back" 6. "Mother's Lament" |
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Disraeli Gears is the second album by British supergroup, Cream. It was released in November 1967 and went on to reach #5 on the UK Albums Chart. It was also their American breakthrough, becoming a massive seller there in 1968, reaching #4 on the American charts. The album features the two singles "Strange Brew" and "Sunshine of Your Love". The title of the album was taken from an inside joke. Eric Clapton had been thinking of buying a racing bicycle and was discussing it with Ginger Baker, when a roadie named Mick Turner commented, "it's got them Disraeli Gears", meaning to say "derailleur gears," but instead alluding to 19th Century British Prime Minister, Benjamin Disraeli. The band thought this was hilarious, and decided that it should be the title of their next album. Had it not been for Mick's turn of phrase, the album would simply have been entitled "Cream." The album was recorded at Atlantic Studios in New York during May 1967, following the band's nine shows as part of Murray the K's "Music in the 5th Dimension" concert series. Cream's American label, ATCO, was a wholly owned subsidiary of Atlantic Records. The sessions were produced by future Mountain bassist Felix Pappalardi - who co-wrote the tracks "Strange Brew" and "World of Pain" with wife Gail Collins - and were engineered by Tom Dowd - who would later work with Clapton on projects such as Layla and Other Assorted Love Songs and 461 Ocean Boulevard. The owner of Atlantic Records, Ahmet Ertegun, was also present during the sessions. The psychedelic cover art was created by Australian artist Martin Sharp, who lived in the same building as Clapton at the time of the Chelsea artists colony The Pheasantry. Sharp would go on to create the artwork to Cream's next album Wheels of Fire and co-wrote the songs "Tales of Brave Ulysses" and the Savage Seven Theme "Anyone for Tennis" with Eric Clapton. The back-cover photography was taken by Bob Whitaker who did the photography for several works by The Beatles including the controversial Yesterday and Today. "Disraeli Gears" features the group veering away, quite heavily, from their blues roots and indulging in more psychedelic sounds. The most blues-like tunes on the album are the remake of "Outside Woman Blues", the Bruce/Brown Composition "Take it Back" which had been inspired by the contemporary media images of American students burning their draft cards which featured harmonica work by Jack Bruce, and the opening track "Strange Brew" which was based on a 12-bar blues song called "Lawdy Mama" and featured an Albert King-style guitar solo. |
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Cream: Inglaterra
Cream were a 1960s British rock supergroup consisting of bassist/vocalist Jack Bruce, guitarist/vocalist Eric Clapton, and drummer Ginger Baker. Their sound was characterised by a hybrid of blues rock, hard rock and psychedelic rock, combining the psychedelia-themed lyrics, Eric Clapton's blues guitar playing, Jack Bruce's voice and blues bass playing and Ginger Baker's jazz-influenced drumming. The group's third album, Wheels of Fire, was the world's first platinum-selling double album. Cream is widely regarded as being the world's first notable and successful supergroup. In over two years, they sold over 35 million albums. Cream's music included songs based on traditional blues such as "Crossroads" and "Spoonful", and modern blues such as "Born Under a Bad Sign", as well as more eccentric songs such as "Strange Brew", "Tales of Brave Ulysses" and "Toad". Cream's biggest hits were "I Feel Free" (UK, #11), "Sunshine of Your Love" (US, #5), "White Room" (US, #6), "Crossroads" (US, #28), and "Badge" (UK, #18). Cream made a significant impact upon the popular music of the time, and along with Jimi Hendrix 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 The Jeff Beck Group in the late 1960s. The band's live performances influenced progressive rock acts such as Rush, jam bands such as The Allman Brothers Band, Grateful Dead, Phish and heavy metal bands such as Black Sabbath. To begin with, Cream, as its name boasted, consisted of three of the top musicians in the UK in the late sixties. Eric Clapton had established his mastery of the electric blues guitar with the Yardbirds and John Mayall. Jack Bruce was the most inventive bass player around. Ginger Baker was a demon on drums, specializing in a kit that boasted two bass drums. While Clapton was mostly a student of the blues, Bruce and Baker were at least as influenced by jazz. Their live shows relied heavily on improvisation and included long jam sessions on many numbers. While the musicianship of the band’s three members tell much of the story concerning their live performances, their studio work is another tale altogether. Probably no other rock band in history had such a strong dichotomy between their two modes of expression. As live performers, they were the definitive power trio. Much of their concert work was recorded and released with great commercial and critical success. The compositions used were often old and rearranged blues classics, such as Robert Johnson’s “Crossroads,” “Howlin’ Wolf’s “Sitting On Top of the World,” and Willie Dixon’s “Spoonful,” combined with a few self-penned numbers such as “Toad.” In all these cases, though, the songs used were simply launching pads for the trio’s improvisational gymnastics. In the studio, though, they became an entirely different proposition. Engineer Tom Dowd and producer Felix Pappalardi were significant contributors to the group’s sound, with Pappalardi co-composing and playing viola, piano and mellotron on some of their tracks. Dowd was a great contributor to their sound on record, and was responsible for editing a longer live performance into the fairly concise version of “Crossroads” that became a hit single. Their sometimes startlingly original compositions were co-penned by a variety of contributors, most importantly poet Pete Brown, but also including illustrator Martin Sharp, Gail Collins, the afore-mentioned Pappalardi and Beatle George Harrison. This unusual combination of talent was capable of producing all sorts of different sounds in the studio, but what emerged most often, and with greatest success, was a sort of psychedelic blues. Cream was also very much a product of a unique point in time, starting as they did in 1966 and continuing through 1969. Older British bands, such as the Beatles, the Rolling Stones and the Kinks were not doing American tours at this time, for various reasons, creating a vacuum in the American market. Previous tours had relied on older amplifiers even after the bands began playing huge venues such as stadiums, making the music less important than the appearance of the bands. Cream was one of the first groups to use the newer Marshall amplifiers on the road, and thus was able to produce an overwhelming sound in the largest of halls, even with only three musicians on stage. Dylan had just opened up the Top 40 to meaningfully vague lyrics and longer songs. Jimi Hendrix had introduced the possibilities of a power trio featuring a wildly improvisational guitarist. Hendrix had also demonstrated the possibilities of electronically distorted guitar sounds, extending the definition of psychedelia, using new tools such as the wah-wah pedal. So in many ways Cream was in the right place at the right time to be able to take advantage of all these new possibilities. Although Cream stayed together for only two years — and long enough to produce three and a half studio albums — this group still has the distinction of being the only band to feature the talents of Eric Clapton for this long a run. And given their perfect timing, and the accelerated pace of activity in the rock world during this period, they were able to be enormously productive and influential over this relatively brief span. |
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