White Room - Cream

Rola: White Room
Traducción: Cuarto blanco
Intérprete: Cream
Compositor: Jack Bruce, Pete Brown
Disco: Wheels Of Fire
Productor: Felix Pappalardi


"White Room" is a song by Cream from their 1968 album Wheels of Fire. Its lyrics were written by Pete Brown and its music was composed by Jack Bruce.

After bassist Jack Bruce wrote the guitar pieces, Cream's lyricist, poet Pete Brown, grouped colourful four-syllable phrases, loosely organised around images of waiting in an English railway station influenced by the drugs he was taking. "White Room" is further noted for its unusual time signature of 5/4 in the introduction and bridge, with triplets played on toms by Ginger Baker, his thunderous bass drum part also lacing the verses. Finally, "White Room" is notable for showcasing guitarist Eric Clapton's best known use of the Vox Clyde McCoy Picture Wah in the bridge and extended solo.


Duración: 04:58
Año: 1968
Formato: 7"
A la venta: 01/08/1968
Lado B: Those Were the Days
Disquera: ATCO


Jack Bruce - bajo y voz
Eric Clapton - guitarra
Ginger Baker - batería y tímpano
Felix Pappalardi - viola


En las listas semanales de popularidad y ventas de la revista Billboard White Room llegó al número 6



White Room
Cuarto blanco
In the white room with black curtains near the station.
Blackroof country, no gold pavements, tired starlings.
Silver horses ran down moonbeams in your dark eyes.
Dawnlight smiles on you leaving, my contentment.

I'll wait in this place where the sun never shines;
Wait in this place where the shadows run from themselves.

You said no strings could secure you at the station.
Platform ticket, restless diesels, goodbye windows.
I walked into such a sad time at the station.
As I walked out, felt my own need just beginning.

I'll wait in the queue when the trains come back;
Lie with you where the shadows run from themselves.

At the party she was kindness in the hard crowd.
Consolation for the old wound now forgotten.
Yellow tigers crouched in jungles in her dark eyes.
She's just dressing, goodbye windows, tired starlings.

I'll sleep in this place with the lonely crowd;
Lie in the dark where the shadows run from themselves.


1. "White Room"
2. "Sitting on Top of the World"
3. "Passing the Time"
4. "As You Said"

1. "Pressed Rat and Warthog"
2. "Politician"
3. "Those Were the Days"
4. "Born Under a Bad Sign"
5. "Deserted Cities of the Heart"


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.


Jeff Healey; Waylon Jennings; Robert M. K. Hinz/Julia Degenhardt; Joel Grey; Frank Gambale; Rudy Trevisi; Iron Butterfly; Flower Travellin' Band; Pat Travers; Ringo Starr and His All-Starr Band; Helloween; Demons & Wizards; Iced Earth; Jimmy Barnes; The Bobs; The Guess Who; The Vines; The Stranglers; Hugh Cornwell and Robert Williams; Vassar Clements; BBM; Sheryl Crow; Rik Emmett

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