First Cream Reunion Concert, May 2, 2005

by Saiichi Sugiyama

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It really happened. The lights went down and the band walked on stage. A thunderous noise and standing ovations all around. In my seat at the Royal Albert Hall, I kept thinking this was so unreal, I must be dreaming. I have, over the last 20 years, seen Eric Clapton perform at this venue so many times and it was the same Eric standing there now at stage left -- but with him were Jack Bruce and Ginger Baker.

The show kicked off with "I'm So Glad". Eric leads with arpeggios that I worked out how to play from LPs thirty years ago but never saw being played by him. His black signature Stratocaster is plugged into a Cornell amp and Jack is playing a 1950s violin-shaped Gibson EB-0 bass, like the one that Felix played, through a Hartke rig. Ginger is playing a green sparkle DW kit.

This is CREAM - the unmistakable blend of Eric Clapton's and Jack Bruce's voices in harmony. Jack looks thin and frail but his singing is strong and what a presence. Ginger's kit sound though a modern PA is much fuller than on live recordings from the '60s. Playing is slightly tentative but can you blame them? It's been almost 37 years. An a cappella ending to "I'm So Glad" and the crowd is on its feet again.

The next song, "Spoonful", is bluesier in a sort of modern Clapton way but Jack's vocal is still magnetic. Eric took his first lead vocal of the night with "Outside Woman Blues".

Jack's vocals and playing got stronger as the evening progressed. "Deserted Cities of Heart" sounded better than the '60s live version to my ears and "We Are Going Wrong" was amazing - richly enhanced by the modern reverb which allowed the music to breath more. The Cockney "Pressed Rat and Warthog", totally unexpected, with Ginger rapping on a headset microphone, had the band and the audience in stitches. It was fantastic to hear "Badge" with Jack playing the distinctive bass line with the Gibson voice.

The choice of songs was eclectic -- some obvious oldies and other not so obvious ones. The only number that was not in the Cream canon was "Stormy Monday", but I am sure they played this slow blues song with the late great Graham Bond/John Mayall/ in the early days of Cream. "Sleepy Time" was also more American blues in approach, Eric bringing to the fold the guitar sound and style that he developed during his career as a solo artist. Jack's bass tone and playing was particularly good on "NSU" and "Sweet Wine". Shorter improvisations allowed them to play more numbers and that seemed to please the crowd very much.

Above all, what was really striking was the rapport among the band members, radiating from the stage and reflected in the spirit of the music. All three were smiling and the audience was ecstatic. The thunderous applause and standing ovation at the end of songs seemed never ending, the band launching into the next number in the middle of continuing cheer. Jack was clearly being stretched due to the fact that he is still on the road of recovery from the serious illness he had suffered. It was heart warming to see the concern that Eric displayed -- it appeared like Eric was keeping an eye on Jack, making sure he was all right.

There were subtle improvements made in instrumental arrangements such as Eric playing slide guitar on "Rollin' and Tumblin'", striking a pose that was reminiscent of the great Howlin' Wolf, while Jack half-sat on a stall and displayed his prowess on a blues harp. A harmonica on a stand came into play to enhance Wolf's "Sitting On Top Of the World", sounding like a happy medium between the fire of Cream's '60s version and the bluesiness of Wolf's version. This was clearly the Cream 2005.

Certain songs to varying degree appeared to me still had a room to develop over the course of next three shows (and who knows? US or Japan tour?), such as "Born Under A Bad Sign" and "Politician" (which sported a new ending arrangement). "Crossroads" was a not-all-together-satisfying compromise between the chunky Clapton version and the faster rendition from Wheels on Fire. Probably for a similar reason, "White Room", to my ears, sounded like it needed to be turned into a Cream number again. It was curious to see that Eric sang the chorus, which, in a Clapton concert setting, has always been sang not by Eric but by a backing singer. Eric also sang the last verse of "White Room", probably an acknowledgement of the fact that he regularly sang this Pete Brown/Jack Bruce song in his concerts for 20 years since Live Aid in 1985.

The concert came to an end with "Toad", a highlight of the evening with Ginger showing that he is still the boss on the kit. The encore was "Sunshine of Your Love" featuring the distinctive drum voice of Ginger.

To quote Eric's words in "Sunshine Of Your Love", I've been waiting so long -- and it was worth it. It was one of those nights. The crowd seemed happy and fulfilled, including Brian May of Queen, who sat a few feet away from me, beaming with a big smile. I know how you felt, Brian.
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About Saiichi Sugiyama

Saiichi Sugiyama's Modern Guitars Magazine Journal
Saiichi Sugiyama Interview
Sale of the Generation: Saiichi Sugiyama on the 1999 Eric Clapton Christie's Crossroads Auction
Saiichi Sugiyama's Website