Same setlist - another review from Paul Olsen who got Saiichi's ticket as he was getting ready for his gig with Peter Brown that night: http://www.modernguitars.com/archives/000712.html
Same Set List, Saiichi's review: http://www.modernguitars.com/archives/000705.html and note that Saiichi is just getting a ticket each night!
Review from Rick Kent:
Nice to see Ginger's drums are well miked - close and distant. Looking forward to the DVD/CD!
Same set list but generally a better concert - more relaxed and less nervous. All concerts are being filmed & recorded so at least a DVD and probably best version collection for Live CD(s).
Review (Apologies to whoever did this review, I am very happy to attribute or just link but it was emailed to me)
Review Links
A review from Saiichi: http://www.modernguitars.com/archives/000691.html
And note link to his review of 1st night, and the other review of 2nd night.
Set List ( Thanks to Bob Elliott, once again!)
"Off to a great start!! And, a few surprises!
I'm So Glad
Spoonful
Outside Woman Blues
Pressed Rat and Warthog
Sleepy Time Time
N.S.U.
Badge
Politician
Sweet Wine
Rollin' & Tumblin'
Stormy Monday
Deserted Cities of the Heart
Born Under a Bad Sign
We're Going Wrong
Crossroads
Sitting on Top of the World
White Room
Toad
encore of :
Sunshine of Your Love"
A Detailed Review (Apologies to whoever did this affectionate and balanced review, I am very happy to attribute or just link but it was emailed to me)
Rock & Roll Hall of
Famers rediscover blues ancient and modern at Royal
Albert Hall
On November 26, 1968, Cream walked off the
stage at London's Royal
Albert Hall for what they fully expected to be
the last time. Exhausted
by infighting and non-stop touring, their rare
instrumental telepathy
creeping into formula and all but obliterated
by arena-PA volume, rock's
first supergroup -- guitarist Eric Clapton,
bassist Jack Bruce and
drummer Ginger Baker, already individual stars
in Britain when they
formed in 1966 -- held rock's first super-wake
in this majestic
Victorian concert hall, playing two final
shows of what Clapton once
described as "Blues Ancient and
Modern" to audiences that literally
begged them not to go, with massed cries of
"God save the Cream!"
Those prayers were finally answered,
thirty-seven years later. At 8:10
p.m. on May 2nd, Clapton, Bruce and Baker
walked back on to that stage
to a standing, delirious, disbelieving
ovation, opening the first of
four shows this week at the Albert Hall with
the perfect, galloping
sentiment: the Skip James blues "I'm So
Glad," from their first album,
Fresh Cream. This was, admittedly, not the
breakneck, juggernaut Cream
of the concert half of 1968's Wheels of Fire
or the post-mortem live
albums. Clapton's old wall of Marshall
cabinets was gone; he played
through just two small tube amps, with a
Leslie for that majestic bridge
lick in "Badge." And Clapton has
long since exchanged the assaultive
snarl of his original Cream weapons -- the
Gibson SG and Les Paul -- for
the cleaner ring and bite of a Stratocaster.
There was less assault in
the music, but more air, which allowed the
original swing in Cream's
power blues to come through: the
conversational way Bruce improvised
inside Clapton's slalom runs and grinding
notes during the instrumental
breaks in "Spoonful" and "N.S.U.";
the taut fire of Baker's snare and
tom-toms under Clapton's solo in "Sleepy
Time Time."
Clapton's brief remarks to the crowd
suggested lingering nerves and
fears of overexpectation. "Thanks for
waiting all these years," he said,
after a rare live outing of "Outside
Woman Blues," from Disraeli Gears.
"I think we're going to do every song we
know," quickly noting, "We'll
play them as well as we can." But when
Clapton pointed out that "the
slings and arrows of misfortune cut us down in
our prime," Bruce was
having none of it. "What do you
mean?" he interjected with needling
glee. "This is our prime."
It was a bold claim for a band, which, with
the exception of a brief
reunion set at their 1991 induction into the
Rock & Roll Hall of Fame,
had not played together in nearly four
decades. And much that was once
remarkable and unique to Cream -- the fusion
and compression of jazz and
blues dynamics into pop song; the instrumental
democracy of the power
trio; the license to jam at great length -- is
now established rock &
roll language and tradition. But the
deliberate tautness of the
performances tonight, sounding at first
uncomfortably close to
overrestraint, was probably closer to the way
Cream first heard
themselves in 1966 and early '67 -- a modern
R&B trio of equal, virtuoso
soloists; blues purists with futurist nerve --
before the live extremes
and routines of '68 took over.
Many of the highpoints were in the details:
the odd bent and time of
Bruce's and Clapton's twinned riffing in
"Politician" against Baker's
straight, anchoring motion; the heightened
tension of Bruce's high,
choking bass notes and Baker's tom-tom bombs
under Clapton's solo in
"Sweet Wine." In a stunning
exhumation of the trance-rock gem "We're
Going Wrong," from Disraeli Gears,
Baker's mallets rolled across his
tom-toms in liquid 6/4 time as Bruce sang with
operatic despair over the
simple, climbing tension of Clapton's
strumming. And at the end of the
encore, "Sunshine of Your Love,"
Clapton, Bruce and Baker locked into a
powerful, mounting suspense, a droning,
one-chord crescendo that,
frankly, climaxed too soon with a final
reentry into that immortal riff.
The only venture outside Cream's recorded
library was a cover of T-Bone
Walker's "Stormy Monday," a Clapton
vocal-and-guitar showcase that made
clear how the balance of power and celebrity
has shifted since he was
the band's junior genius and the quiet
mediator between Bruce's and
Baker's combative tempers.
"Crossroads" also bore the matured Clapton's
touch, taken at the country-funk gait he has
long favored in his own
shows. But the surprise of the night was the
focused power and
undiminished strength of Baker, who sat ramrod
straight as he fired off
precise, provocative accents -- cymbal stings,
snare gunshots and
double-kick-drum eruptions -- without
loosening his grip on the pulse.
Even in the inevitable "Toad," he
soloed with startling control, never
breaking the snapping, high-hat beat as his
sticks flew over the rest of
his kit.
And it was Baker who left the audience with
the defining image of the
night: stepping out from behind his drums
after "Sunshine of Your Love"
with a huge smile, pumping his fists in the
air like a former
championship boxer who had just gone twenty
rounds with history -- and
won.
Review Links
http://qcwizards.chem.warwick.ac.uk/~taylor/cream.html
http://www.nytimes.com/2005/05/02/arts/extra/02cream-extra.html?ex=1115784000&en=adbaae74bd90fccf&ei=5070
http://breakingnews.iol.ie/entertainment/story.asp?j=141711850&p=y4y7yz556
http://www.canada.com/news/national/story.html?id=d59658df-9bb0-4bf2-baf9-c1bf986411d3
http://today.reuters.co.uk/News/newsArticle.aspx?type=entertainmentNews&storyID=2005-05-03T095933Z_01_JON335919_RTRUKOC_0_ARTS-CREAM.xml
http://news.bbc.co.uk/1/hi/entertainment/music/4506185.stm
http://www.mp3.com/updates.php?artist_id=3371&article_id=41176
The Official Merch
http://www.cream2005.com/thestore_merch.lasso
Many thanks to the various
contributors - Nick, Neil, Alan, Mark, Bob etc. Any reviews
welcome!!!!
(I'll always be a 2 days late - the time difference to OZ + I'm at work!)