April - Nov 1968

On 19th April Cream returned to the US tour with three nights at Philadelphia's Electric Factory.  The reports were of a great show with Clapton in blistering form.  Not only was Clapton's appearance noted (long hair in a pony tail, leathers and Ray-Bans) but his use of a Fender Dual Showman on one of the stacks.  At another concert he used two Fenders a-top the Marshall cabs.  I think it is pretty safe to say they were the updated 1968 models.  

Dual Showman on the right stack at the Electric Factory

Now I have to get into some speculation on the reasons:

1. Clapton had found his sound had changed with the EL34 powered Marshalls and began experimenting with Fender's.  At the Electric Factory he used a standard (non tremolo) 1939 SuperLead with the tremolo equipped Fender.

2.  Clapton was completing a change in his image and therefore began experimenting with his sound.  Being wed to the Gibson Humbucking sound, finding a new amplifier sound was the preferred course.

3.  Most likely 1 & 2 in combination which is supported by his reversion to Gibson Les Paul at gigs in late April-Early May and then standard use of the Firebird 1.  Its also fair to say that the '64 SG may have been getting worse for wear after a year of heavy use.  

1968 Fender Dual Showman

At some stage EC stopped experimenting and continued using two 1939 Superleads.  These would have been the new models 560V EL34s, Dagnall Transformers.  Though in the photograph below the right amp looks like a 1968 Fender Dual Showman Reverb!  However the remainder of the photos from this time show full Marshall rigs. 


Fender Dual Showman Reverb on right stack?


On the final tour the rigs for Jack and Eric were 2 x 1939 Superleads EL34 at 560V and dual stacks with G12M30 or G12H30speakers.  Jack only used one through both stacks. Amps were on full and Ginger miked overhead and an omni-directional between the bass drums.  The PAs were mostly inadequate, except for San Franciso, L.A. and San Diego, especially the outdoor venues. 

Baker never had a chance in the standard big venues thus his "hammer-like-hell" approach heard on many of the bootlegs.  The drums are omni-directional in sound, the stacks directional.  Why he didnít simply tour with some 200W 1966 M