Sunshine of Your Love - Cream

Rola: Sunshine of Your Love
Traducción: El brillo de tu amor
Intérprete: Cream
Compositor: Pete Brown, Jack Bruce, Eric Clapton
Disco: Disraeli Gears
Productor: Felix Pappalardi
Orden al bat: 093


"Sunshine of Your Love" is a song by the British supergroup Cream. The song was originally released on the album Disraeli Gears in November 1967, and was later released as a single in January 1968. It was Cream's only gold-selling single in the United States. It features a distinctive guitar/bass guitar riff and an acclaimed guitar solo from Eric Clapton. It was written by bassist Jack Bruce, lyricist Pete Brown, and Clapton.

Development of the song began when Bruce and Clapton attended a Jimi Hendrix show at the Saville Theatre in London. After the concert, Bruce returned home and wrote the riff that runs throughout the song. Most of the lyrics to "Sunshine of Your Love" were written during an all-night creative session between Bruce and Brown, a poet who worked with the band: "I picked up my double bass and played the riff. Pete looked out the window and the sun was coming up. He wrote 'It's getting near dawn and lights close their tired eyes…'" Clapton later wrote the song's bridge which also yielded the song's title.

Clapton's guitar tone on the song is created using his 1964 Gibson SG guitar and a Marshall amplifier. It is also believed that a Vox Clyde McCoy Picture Wah is placed fully in the bass position for the solo section. The song is renowned among guitarists as perhaps the best example of his legendary late-'60s "woman tone", a thick yet articulate sound that many have tried to emulate. For the solo Clapton quoted the opening lines from the pop standard "Blue Moon," creating a contrast between the sun and the moon.

Drummer Ginger Baker is said to have came up with the song's tempo, which was based on African drumming. Engineer Tom Dowd later claimed to have suggested the drum part, but Baker insists that he was indeed the one who came up with the drum pattern and didn't receive writing credit: "not even a thank you!"

Cream's American record label, Atlantic, did not like the song originally and was not going to release it, but the people at Atlantic changed their mind when Booker T. Jones (of Booker T. & the M.G.'s) said that he liked the song.

The song appears on the soundtracks of the movies School of Rock, Goodfellas, Uncommon Valor, and True Lies. The opening riff also appeared at the end of the Futurama episode "The 30% Iron Chef" after Bender offers to make the crew a brunch laced with LSD. The riff also appears in The Simpsons episode "Mother Simpson", played when Mona Simpson sees Joe Namath's long hair. In the 1985 movie The Breakfast Club, the opening riff is air-guitared by character John Bender. It is a playable track in the video game Guitar Hero III: Legends of Rock. It is also in the Johnny Knoxville movie The Ringer.
In 2004, the song was ranked #65 on Rolling Stone magazine's list of The 500 Greatest Songs of All Time. The song is also a part of the Rock and Roll Hall of Fame's 500 Songs That Shaped Rock and Roll List.

In March 2005, Q magazine placed "Sunshine of Your Love" at number 19 in its list of the 100 Greatest Guitar Tracks. In 2009 it was named the 44th best hard rock song of all time by VH1.

The song is also a part of the Rock and Roll Hall of Fame's 500 Songs That Shaped Rock and Roll list.


Duración: 04:14
Año: 1967
Formato: 7"
A la venta: 01/01/1968
Disquera: ATCO


Eric Clapton - guitarra y voz
Jack Bruce - bajo, armónica y voz principal
Ginger Baker - batería, percusión y voz


La revista Rolling Stone clasifica a Sunshine of Your Love como la canción número 65 entre las 500 más importantes de todos los tiempos


En las listas semanales de popularidad y ventas de la revista Billboard Sunshine of Your Love llegó al número 5



Sunshine of Your Love
El brillo de tu amor
It's getting near dawn,
When lights close their tired eyes.
I'll soon be with you my love,
To give you my dawn surprise.
I'll be with you darling soon,
I'll be with you when the stars start falling.

I've been waiting so long
To be where I'm going
In the sunshine of your love.

I'm with you my love,
The light's shining through on you.
Yes, I'm with you my love,
It's the morning and just we two.
I'll stay with you darling now,
I'll stay with you till my seas are dried up.

I've been waiting so long
I've been waiting so long
I've been waiting so long
To be where I'm going
In the sunshine of your love.

Es casi la madrugada,
cuando las luces cierran los ojos cansados.
Voy a estar pronto contigo mi amor,
para darte mi sorpresa al amanecer.
Voy a estar contigo pronto querida,
Voy a estar contigo cuando las estrellas comienzan a caer

He estado esperando tanto tiempo
que se dónde voy
en el brillo de tu amor.

Estoy contigo mi amor,
la luz que brilla a través de ti.
Sí, estoy contigo mi amor,
es la mañana y sólo nosotros dos.
Me quedo con el cariño que ahora,
me quedo contigo hasta mi mar se secó.

He estado esperando tanto tiempo
He estado esperando tanto tiempo
He estado esperando tanto tiempo
que se a dónde voy
en el brillo de tu amor .


La revista Rolling Stone clasifica a Disraeli Gears como el número 112 entre los 500 discos más importantes de todos los tiempos

1. "Strange Brew"
2. "Sunshine of Your Love"
3. "World of Pain"
4. "Dance the Night Away"
5. "Blue Condition"

1. "Tales of Brave Ulysses"
2. "Swlabr"
3. "We're Going Wrong"
4. "Outside Woman Blues"
5. "Take It Back"
6. "Mother's Lament"

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.


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.


Jimi Hendrix; Ella Fitzgerald; Frank Zappa; Fudge Tunnel; Living Colour; Bim Skala Bim; Earth Crisis; Ozzy Osbourne; Funkadelic; Trini Lopez; Santana

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