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These are the user uploaded subtitles that are being translated: 1 00:03:22,649 --> 00:03:27,313 We was out at Stanford University one night and they was out at Filmore West 2 00:03:28,355 --> 00:03:31,153 and we got a chance to get together, and what a group. 3 00:03:31,191 --> 00:03:34,991 Jesus Christ, I knew I had a lot to learn when l saw them play. 4 00:03:35,028 --> 00:03:37,019 Regards to what Eric said about me, 5 00:03:37,063 --> 00:03:40,464 I think they were one of the greatest three-piece groups. 6 00:03:40,500 --> 00:03:44,527 My first time hearing Cream was in about 1967, 7 00:03:46,239 --> 00:03:50,073 about the same time I heard Jimi Hendrix, l was living in Virginia, 8 00:03:50,110 --> 00:03:52,101 near Newport News. 9 00:03:52,145 --> 00:03:56,445 I heard the aIbum DisraeIi Gears, and l heard that before l heard Fresh Cream 10 00:03:56,516 --> 00:03:59,212 and I went back and l found Fresh Cream. 11 00:03:59,252 --> 00:04:02,779 It was a whoIe different kind of music for me. 12 00:04:03,790 --> 00:04:08,250 You know, just Iike Jimi Hendrix's music was different, it was strange, 13 00:04:08,295 --> 00:04:12,493 but what I Iiked about it was that there was a lot of blues involved in the music. 14 00:04:13,533 --> 00:04:17,936 I thought it was cooI, Jack Bruce and his wailing vocals, that was great, 15 00:04:17,971 --> 00:04:22,067 and nobody eIse was playing bass like that at that time. 16 00:04:22,108 --> 00:04:26,704 Hendrix and us basicaIIy had created this very large audience 17 00:04:26,746 --> 00:04:32,343 of peopIe who were turned on to instrumental, vocal, loud music, 18 00:04:32,385 --> 00:04:35,183 rock'n'roII, I guess, with bIues in it. 19 00:04:35,221 --> 00:04:40,352 First time I heard them was on the radio, l think it was Sunshine Of Your Love. 20 00:04:43,730 --> 00:04:45,721 Being a drummer, 21 00:04:45,799 --> 00:04:53,103 just Iistening to how unique at that time the drumming was, cos it blew me away. 22 00:04:53,139 --> 00:04:56,108 lt was simple but yet it was complicated. 23 00:04:56,142 --> 00:04:58,940 But more importantly it had feel to it. 24 00:04:58,979 --> 00:05:04,781 RoIIing Stone wrote an articIe in l think 1967 or '68, 25 00:05:06,620 --> 00:05:10,954 and it was ''WiII Cream stand the test of time?'' 26 00:05:13,827 --> 00:05:16,660 lt did, and it will, l think. 27 00:05:17,897 --> 00:05:21,924 It was reaIIy something extraordinarily good 28 00:05:22,002 --> 00:05:24,436 that happened, musically. 29 00:05:24,471 --> 00:05:30,000 It was one of the earIy heavy metaI bands, probably, without knowing it. 30 00:05:30,076 --> 00:05:33,773 Because when they... when we disbanded Cream 31 00:05:33,813 --> 00:05:36,373 and they weren't around any more, 32 00:05:36,416 --> 00:05:41,319 Led ZeppeIin fiIIed the void, and became the first official heavy metal band. 33 00:05:41,354 --> 00:05:45,552 So maybe Cream was the forerunner of that. 34 00:05:53,433 --> 00:05:56,732 It was an exciting thing to hear them playing together 35 00:05:56,770 --> 00:05:58,761 and you could see the possibilities 36 00:05:58,838 --> 00:06:02,171 and it didn't take Iong before it gelled together 37 00:06:02,242 --> 00:06:07,009 and they found the things that did work and didn't work and took off from there. 38 00:06:07,080 --> 00:06:13,246 From that point on, it was an extremeIy exciting thing, as everybody knows. 39 00:12:02,402 --> 00:12:06,498 Everybody was such a close-knit musical community, 40 00:12:06,539 --> 00:12:10,305 everybody had to Iive in London if you wanted to work. 41 00:12:11,344 --> 00:12:15,405 I'd been so famiIiar with Jack's pIaying right from the very start 42 00:12:15,481 --> 00:12:19,110 when he was with Alexis Korner's Blues lncorporated, 43 00:12:19,152 --> 00:12:23,145 and a coupIe of years before that when he was on the jazz circuit 44 00:12:23,189 --> 00:12:27,592 pIaying upright bass with Ginger... Ginger and Graham Bond. 45 00:12:27,627 --> 00:12:31,723 So I was... l'd heard Jack Bruce for years, 46 00:12:31,798 --> 00:12:35,234 so I was famiIiar with him as a person and as a player. 47 00:12:35,268 --> 00:12:37,862 l'd played with Ginger for a long time, 48 00:12:37,904 --> 00:12:41,431 we were kind of a far-out free jazz rhythm section. 49 00:12:41,474 --> 00:12:44,807 We used to pIay places like the Flamingo. 50 00:12:45,912 --> 00:12:49,712 It was kind of Ornette CoIeman kind of free jazz, really. 51 00:12:51,417 --> 00:12:55,751 But we aIso... Then we had the R&B thing with Graham. 52 00:12:56,889 --> 00:13:00,290 There was some festivaI that the Yardbirds were playing at. 53 00:13:00,359 --> 00:13:04,125 We aII sat in. Eric... That's the first time l met Eric. 54 00:13:05,465 --> 00:13:07,456 He played with the Yardbirds, 55 00:13:07,500 --> 00:13:10,901 we were aII on the same circuit of pubs and clubs, 56 00:13:10,937 --> 00:13:16,341 and probabIy about a year before he joined me and left the Yardbirds. 57 00:13:16,375 --> 00:13:18,366 He wasn't that remarkable. 58 00:13:18,411 --> 00:13:21,403 But obviousIy he was the only one you'd look for 59 00:13:21,481 --> 00:13:25,440 if you were gonna hear the Yardbirds at that time and if you were a blues lover. 60 00:13:25,518 --> 00:13:29,545 But it was remarkabIe reaIIy how quickly Eric progressed 61 00:13:29,589 --> 00:13:33,355 and that was probabIy because he had no one to play with 62 00:13:33,392 --> 00:13:36,452 so he put a Iot of time in listening to records 63 00:13:36,496 --> 00:13:39,863 and getting his foundations right. 64 00:13:40,900 --> 00:13:45,963 When Eric Ieft the Yardbirds it was great, cos he didn't really live anywhere. 65 00:13:46,038 --> 00:13:48,506 l had a spare room at my house 66 00:13:48,541 --> 00:13:53,308 and that gave him free access to my huge - at that time - record collection 67 00:13:53,346 --> 00:13:56,338 which was a pretty hefty blues archive. 68 00:13:56,382 --> 00:13:59,783 So he feIt right at home in more ways than one. 69 00:13:59,819 --> 00:14:03,619 We did Iisten to so many records together and get excited about them 70 00:14:03,656 --> 00:14:06,648 and they found their way into the repertoire. 71 00:14:06,692 --> 00:14:10,128 I especiaIIy Iiked the blues material that he did, 72 00:14:10,196 --> 00:14:13,825 like the live album that came out 73 00:14:13,866 --> 00:14:16,426 with Crossroads on it and Spoonful. 74 00:14:17,270 --> 00:14:22,503 Those were songs that I had to spend a whole lot of time in my bedroom 75 00:14:22,542 --> 00:14:26,535 Iistening to what was going on. Those were great numbers. 76 00:17:56,589 --> 00:17:58,580 So l got fed up with Graham, 77 00:17:58,624 --> 00:18:02,424 Graham was going in the opposite direction to what l was going. 78 00:18:02,461 --> 00:18:05,658 I'd been running the band for about three years 79 00:18:05,698 --> 00:18:10,761 and I decided that I wanted to get my own band together. 80 00:18:13,172 --> 00:18:16,573 The first person that came to mind was Clapton. 81 00:18:16,609 --> 00:18:20,705 So I turned up in Oxford, where Eric was playing with John Mayall. 82 00:18:20,746 --> 00:18:23,613 It was in a big haII... 83 00:18:23,649 --> 00:18:27,312 Eric saw me in the dressing room, l went in the interval, 84 00:18:27,353 --> 00:18:30,151 and he said, ''Oh, man, you gotta sit in.'' 85 00:18:30,189 --> 00:18:33,784 So l said, ''Yeah, l'd love to.'' So... 86 00:18:33,826 --> 00:18:39,128 Then we... Everybody stood up and bang, it happened, immediately, 87 00:18:39,198 --> 00:18:42,099 it really changed the whole gig. 88 00:18:43,102 --> 00:18:46,162 So after their gig, l said to Eric, 89 00:18:46,238 --> 00:18:51,733 ''I'm getting a band together, would you like to join the band?'' 90 00:18:52,978 --> 00:18:56,141 And he said yeah straightaway. 91 00:18:57,316 --> 00:19:00,114 Eric said, ''What about a bass player?'' 92 00:19:00,786 --> 00:19:03,346 And l said, ''Hmm...'' 93 00:19:04,590 --> 00:19:06,785 He said, ''What about Jack?'' 94 00:19:08,360 --> 00:19:11,329 Ginger fired me from the Graham Bond band 95 00:19:11,397 --> 00:19:14,662 but I refused because he wasn't the band leader. 96 00:19:14,700 --> 00:19:17,897 Jack and l had had several altercations 97 00:19:18,938 --> 00:19:21,133 during the Graham Bond days. 98 00:19:21,173 --> 00:19:23,937 l went, ''l really don't know 99 00:19:23,976 --> 00:19:27,571 ''but you're right, he's a fucking good bass player.'' 100 00:19:31,584 --> 00:19:34,644 l said, ''l dunno, l'll go and see him.'' 101 00:19:34,720 --> 00:19:37,154 So next day l went round to Jack's flat 102 00:19:37,189 --> 00:19:41,023 and I haven't seen Jack now for about six months. 103 00:19:41,060 --> 00:19:43,790 I knocked on the door and there was Jack, 104 00:19:43,829 --> 00:19:46,229 and he was surprised to see me as well. 105 00:19:46,265 --> 00:19:48,460 We sat down and had a cup of tea 106 00:19:48,501 --> 00:19:52,096 and I toId him what was going on, like seeing Eric, 107 00:19:53,639 --> 00:19:55,630 everything that was happening, 108 00:19:55,674 --> 00:19:58,074 and did he wanna come with us? 109 00:19:59,178 --> 00:20:01,339 And he said yeah, and that was it. 110 00:20:02,214 --> 00:20:05,547 It was sort of Iike, let bygones be bygones sort of thing. 111 00:20:05,584 --> 00:20:09,247 The first time we pIayed was in Ginger's house, 112 00:20:09,321 --> 00:20:12,256 a IittIe semidetached house in Neasden 113 00:20:12,291 --> 00:20:18,093 It was Iike, out the back was the WeIsh Harp, an artificial lake, a reservoir, 114 00:20:18,130 --> 00:20:21,463 and the kids all used to play over there. 115 00:20:21,500 --> 00:20:23,832 lt was like fields all around it. 116 00:20:23,869 --> 00:20:26,736 And we're pIaying and it's really happening 117 00:20:26,772 --> 00:20:30,765 and we Iooked out the back - you couId see out through the French windows - 118 00:20:30,809 --> 00:20:35,473 and up on the hiII above was just a pile of young kids, 119 00:20:35,514 --> 00:20:37,505 but all dancing, freaking out, 120 00:20:37,550 --> 00:20:40,383 they'd come from all over the Welsh Harp, 121 00:20:40,419 --> 00:20:42,819 they'd heard us and they were digging it. 122 00:20:42,855 --> 00:20:47,690 And that was great, it happened, it was magic immediately. 123 00:20:50,529 --> 00:20:55,899 Hanging out, that's... Bands start as a result naturally when guys hang out. 124 00:20:55,935 --> 00:21:00,065 You get musicians that Iike one another and hang out, they'll become a band. 125 00:21:00,105 --> 00:21:04,474 Yeah, it was pretty instantaneous, there was something there. 126 00:21:04,510 --> 00:21:09,311 Ginger and myseIf had pIayed a Iot over the years before, 127 00:21:09,348 --> 00:21:11,646 you know, jazz things, Alexis and Graham. 128 00:21:13,586 --> 00:21:19,650 With Graham Bond we pIayed 320 or 330 gigs a year. 129 00:21:21,660 --> 00:21:23,651 lt saves you practising. 130 00:21:25,030 --> 00:21:30,866 And then the combination of Eric's, at the time, very pure blues playing 131 00:21:30,903 --> 00:21:36,603 and our kind of pushing him beyond what he thought his limits were. 132 00:21:37,476 --> 00:21:39,467 lt was very exciting. 133 00:27:50,148 --> 00:27:52,946 The thing about Cream, the interesting thing 134 00:27:52,985 --> 00:27:55,351 was the freedom that there was, 135 00:27:55,387 --> 00:27:59,346 that any of the instruments couId be the lead instrument on stage, 136 00:27:59,391 --> 00:28:02,258 or even on record, but mainly on stage. 137 00:28:02,294 --> 00:28:06,060 At any time, the drums couId be pIaying the melody, or the guitar, 138 00:28:06,098 --> 00:28:08,293 or the bass, or the voices, or whatever. 139 00:28:08,333 --> 00:28:12,565 When you pIay and you get into that sort of situation, 140 00:28:12,637 --> 00:28:16,971 it's as if something else takes over, 141 00:28:17,009 --> 00:28:20,103 you're not conscious of playing... 142 00:28:21,079 --> 00:28:25,448 but you're Iistening to this fantastic sound that you're a part of. 143 00:28:25,517 --> 00:28:27,508 Your part is just happening. 144 00:28:28,920 --> 00:28:31,753 lt's just happening, it's like total freedom. 145 00:28:31,790 --> 00:28:36,227 You can practise forever and get the most amazing technique 146 00:28:36,261 --> 00:28:38,422 and say nothing with it at all. 147 00:28:39,731 --> 00:28:43,599 If you haven't got... lt's a gift that some people have, 148 00:28:43,635 --> 00:28:46,069 and we three had it in abundance. 149 00:28:47,105 --> 00:28:50,268 And it so happened that for that period of time 150 00:28:50,308 --> 00:28:56,543 that thing, reaIIy working together, just... we couldn't help but do. 151 00:28:57,382 --> 00:29:00,180 They did start off with a lot of Eric's input 152 00:29:00,218 --> 00:29:04,882 and that wouId've showed up in all the blues things 153 00:29:04,956 --> 00:29:09,290 that maybe Jack and Ginger weren't quite as familiar with. 154 00:29:09,361 --> 00:29:13,730 Then the improvisationaI thing, that's a jazz quality, 155 00:29:13,799 --> 00:29:17,895 and that's totaIIy where Ginger and Jack came from, a jazz background, 156 00:29:17,936 --> 00:29:19,927 so that was their forte. 157 00:29:21,306 --> 00:29:26,676 And Eric, of course, was never pIaying the same any night in the Bluesbreakers. 158 00:29:27,579 --> 00:29:32,846 None of my musicians ever do, because blues is part of jazz and we improvise. 159 00:29:32,918 --> 00:29:36,183 lt's never the same any night in a row. 160 00:29:36,221 --> 00:29:39,884 But the free-form aspect of it, 161 00:29:39,958 --> 00:29:43,724 where you abandon the changes or appear to abandon the changes, 162 00:29:43,795 --> 00:29:48,289 that's a jazz device and that was right up the alley of Jack and Ginger. 163 00:29:48,333 --> 00:29:52,269 lt's interplay between the musicians. 164 00:29:52,304 --> 00:29:54,864 lf they were talking 165 00:29:54,906 --> 00:29:59,866 then, without their voice, if they were talking through their instrument, 166 00:29:59,911 --> 00:30:01,902 then that's what you're hearing. 167 00:30:01,947 --> 00:30:03,938 My guitar voice is my voice, 168 00:30:03,982 --> 00:30:07,110 and what I sing is what l can't do on the guitar. 169 00:30:08,320 --> 00:30:10,584 When you're singing, there are words, 170 00:30:10,622 --> 00:30:14,820 there's a IyricaI content you put across that you're not doing with a guitar. 171 00:30:14,860 --> 00:30:17,454 The guitar is a universal language. 172 00:36:00,238 --> 00:36:03,674 What I've aIways Iiked about Eric's guitar playing 173 00:36:03,708 --> 00:36:06,108 is the fact that he talks to you. 174 00:36:07,078 --> 00:36:09,706 His guitar playing is conversational. 175 00:36:09,747 --> 00:36:11,840 And he takes his time. 176 00:36:11,916 --> 00:36:15,181 l guess hence the name Slowhand. 177 00:36:15,220 --> 00:36:17,211 He was born with a gift and... 178 00:36:18,056 --> 00:36:21,355 and just had a direction. 179 00:36:21,392 --> 00:36:23,792 l don't think l've ever... 180 00:36:23,828 --> 00:36:27,025 untiI Iater on in my Iife, accepted it as a gift, 181 00:36:27,065 --> 00:36:30,125 cos that's...that takes a bit of... 182 00:36:31,669 --> 00:36:33,864 retrospect, you know, 183 00:36:33,905 --> 00:36:37,705 to Iook back and reaIise that it wasn't just a coincidence 184 00:36:37,742 --> 00:36:39,733 that you happened to be a guitar player. 185 00:36:39,777 --> 00:36:43,770 But at the time I wanted to do it because l liked the music, l liked that style, 186 00:36:43,815 --> 00:36:47,808 and it seemed to me a IittIe bit strange that l was the only one that did. 187 00:36:47,852 --> 00:36:53,415 At the time that I started pIaying, most guitar players were trying to be... 188 00:36:54,425 --> 00:36:56,689 follow other white players. 189 00:36:56,761 --> 00:37:01,892 I was much more...very raciaI about it, l wanted to be like a black guitar player 190 00:37:01,933 --> 00:37:08,168 and that, to me, it's a bit of a strange situation. l've never figured that out. 191 00:37:08,239 --> 00:37:15,509 It was, er...between the age of 16, 1 7 to 20, 21 192 00:37:16,548 --> 00:37:20,314 that I put aII of my heart and learning into it. 193 00:37:21,719 --> 00:37:24,813 l forgo... l forwent everything else. 194 00:37:24,856 --> 00:37:26,847 l didn't... 195 00:37:26,891 --> 00:37:29,223 go out, go drinking or anything, 196 00:37:29,260 --> 00:37:34,857 I just stayed at home and Iearned aImost 24 hours a day from listening to records. 197 00:37:34,899 --> 00:37:38,300 But I was deadIy serious about what l wanted to be. 198 00:37:44,309 --> 00:37:48,211 As I rock the pedaI, you can hear it through the amplifier, 199 00:37:48,279 --> 00:37:51,544 it takes bass off and puts trebIe on, like that. 200 00:37:52,750 --> 00:37:55,742 So the voIume isn't going down very much 201 00:37:55,787 --> 00:37:57,778 but the tone is going wah-wah. 202 00:37:57,822 --> 00:38:01,815 That's probabIy the most important part of it, being serious about it, 203 00:38:01,859 --> 00:38:04,589 or finding a kind of music that you like. 204 00:38:05,597 --> 00:38:08,862 And not just have it to be pop music or be popular, 205 00:38:08,900 --> 00:38:11,027 your motive has got to be right, 206 00:38:11,069 --> 00:38:16,632 to be serious about being a certain kind of musician and then fulfilling that. 207 00:38:21,613 --> 00:38:27,574 AII these runs are put together from old phrases l first started on, like... 208 00:38:32,056 --> 00:38:36,618 And now they're just aII messed up with other things l learned like that, which is... 209 00:39:56,741 --> 00:40:00,939 I received a phone caII from Jack and Ginger... 210 00:40:01,746 --> 00:40:05,842 - I didn't have a phone. - Well, it was a call from the studio, 211 00:40:05,917 --> 00:40:09,910 saying, ''We've written this song and we need a lyric for it, 212 00:40:09,954 --> 00:40:12,445 ''would you like to come and have a go?'' 213 00:40:12,490 --> 00:40:18,588 They both worked with me as... backing my poetry and music situation. 214 00:40:18,629 --> 00:40:23,589 Jack did one or two gigs with me Iater but also Ginger worked with me... 215 00:40:23,634 --> 00:40:27,331 - We did gigs with you? - Yeah, a couple of jazz and poetry gigs 216 00:40:27,371 --> 00:40:29,862 - on string bass, remember? - Yeah. 217 00:40:29,907 --> 00:40:33,001 At the Jeanette Cochrane Theatre you did one. 218 00:40:33,077 --> 00:40:36,672 But I think reaIIy you were trying to work with Ginger, initially. 219 00:40:36,714 --> 00:40:40,377 We did, to start with, Ginger pIayed on that big concert we did in '61 ... 220 00:40:40,418 --> 00:40:44,286 - No, I mean, to do with Cream songs. - Well, Ginger knew me better. 221 00:40:44,355 --> 00:40:46,949 - At the beginning you started to work... - Yeah. 222 00:40:46,991 --> 00:40:50,085 - ..but you didn't hit it off. - No, that's right. And... 223 00:40:50,161 --> 00:40:53,255 So l got you because you didn't hit it off. 224 00:40:53,297 --> 00:40:55,697 You got the backlash, yeah. 225 00:40:55,733 --> 00:40:59,430 I came out of the so-caIIed Beat Generation, 226 00:40:59,470 --> 00:41:03,566 I came out of Kerouac and Ginsberg and all those people. 227 00:41:04,609 --> 00:41:07,100 But at the same time, the music that l liked 228 00:41:07,145 --> 00:41:10,308 probabIy had more infIuence on me than they did, 229 00:41:10,348 --> 00:41:14,910 Iike bIues things, Robert Johnson, T-Bone Walker, people like that, 230 00:41:14,952 --> 00:41:20,083 the Iyrics of those things probabIy had more influence on me than other poetry. 231 00:41:20,158 --> 00:41:24,458 The process of writing was very much the music first 232 00:41:24,495 --> 00:41:29,694 and then Pete and myseIf working, hammering out the images. 233 00:41:29,734 --> 00:41:33,135 So he's very...he's very kind of prolific. 234 00:41:33,171 --> 00:41:35,571 l felt that what l was writing was... 235 00:41:35,640 --> 00:41:38,905 I've aIways feIt this, in the best things that we wrote, 236 00:41:38,943 --> 00:41:43,346 I feIt that I was just transIating the music into words, it was there already. 237 00:41:43,381 --> 00:41:46,145 He wouId have half a dozen ideas a minute, 238 00:41:46,184 --> 00:41:49,381 and I wouId say, ''No, l don't like that one,'' 239 00:41:49,420 --> 00:41:54,016 just from the point of view of singing, some things sing better than others. 240 00:41:55,293 --> 00:41:58,387 l didn't care what it meant, really. 241 00:41:58,429 --> 00:42:02,126 - As Iong as it feIt good. - lf it felt good then it would work. 242 00:43:17,742 --> 00:43:23,305 One funny story is the Sunshine Of Your Love story, really, 243 00:43:23,347 --> 00:43:25,144 because, er... 244 00:43:25,182 --> 00:43:28,208 we were sitting there in Bracknell Gardens 245 00:43:29,020 --> 00:43:34,822 and we...it was, Iike, five in the morning, we'd been writing for hours and hours 246 00:43:34,859 --> 00:43:38,260 and we were reaIIy getting fed up with each other as well. 247 00:43:38,296 --> 00:43:44,257 Then suddenIy Jack in desperation grabbed his double bass - this is true - 248 00:43:44,302 --> 00:43:46,463 he grabbed his old double bass... 249 00:43:47,505 --> 00:43:49,564 and said, ''What about this?'' 250 00:43:49,640 --> 00:43:51,801 and played this riff, and l went, 251 00:43:51,876 --> 00:43:57,007 Iooked out the window and it's getting light so l said, ''lt's getting near dawn...'' 252 00:44:00,117 --> 00:44:05,487 I got to know Jimi very weII and we became very close friends. 253 00:44:06,557 --> 00:44:10,789 Jimi, on a TV show once, stopped and went into playing Sunshine. 254 00:44:11,829 --> 00:44:15,629 He really dug Cream, very much, yeah. 255 00:44:44,528 --> 00:44:48,726 We'd Iike to stop pIaying this rubbish and dedicate a song to the Cream, 256 00:44:48,799 --> 00:44:51,563 regardIess of what kind of group they might be, 257 00:44:51,635 --> 00:44:55,435 we'd Iike to dedicate to Eric CIapton, Ginger Baker and Jack Bruce. 258 00:45:39,917 --> 00:45:45,253 I was very, very proud to be a friend of Jimi Hendrix. 259 00:45:45,289 --> 00:45:47,951 He was very... He encouraged me a lot. 260 00:45:47,992 --> 00:45:51,484 I think he is not with us because he was... 261 00:45:51,529 --> 00:45:53,895 because nobody cared about him enough. 262 00:45:53,931 --> 00:45:58,095 And I think nobody cared enough about us then either. 263 00:46:05,209 --> 00:46:09,669 Strange Brew was Hey Lordy Mama, a blues thing that Eric did. 264 00:46:09,713 --> 00:46:13,615 There was a guy in the studio called Felix Pappalardi 265 00:46:14,752 --> 00:46:16,743 and we didn't know him. 266 00:46:16,787 --> 00:46:20,883 There was Tom Dowd and Arif Mardin, Ahmet Ertegun 267 00:46:20,958 --> 00:46:24,450 and this guy, FeIix PappaIardi, who none of us knew. 268 00:46:25,262 --> 00:46:28,254 They introduced him to us, and he said, 269 00:46:28,299 --> 00:46:34,465 ''That track you've just done, wouId you mind if l took it home, took the vocal off 270 00:46:34,505 --> 00:46:36,837 ''and put a song on top?'' 271 00:46:36,874 --> 00:46:39,342 And we said, ''No, man, go for it.'' 272 00:46:42,012 --> 00:46:45,709 He came back next day with Strange Brew. 273 00:46:46,517 --> 00:46:49,850 That was it, we were...you know, yeah. 274 00:46:49,920 --> 00:46:54,050 He wanted to produce a record and we said, ''Yeah, man, go for it,'' 275 00:46:54,091 --> 00:46:56,082 and he became our producer. 276 00:46:58,462 --> 00:47:00,453 He was a great guy to work with. 277 00:47:39,537 --> 00:47:41,971 Listen, a band's as good as its drummer. 278 00:47:42,840 --> 00:47:47,539 A mediocre band with a mediocre drummer's mediocre, right? 279 00:47:47,578 --> 00:47:52,379 A mediocre band with a good drummer becomes a good band. 280 00:47:52,416 --> 00:47:57,217 A reaIIy good band with a good drummer becomes a super band. 281 00:47:57,254 --> 00:48:03,386 The thing that I got from Ginger was that drums are a musical instrument. 282 00:48:04,695 --> 00:48:06,686 There's more than just the hits, 283 00:48:06,730 --> 00:48:11,064 there are nuances, there are dynamics, there are colours. 284 00:48:11,101 --> 00:48:14,093 You've got so many sounds on a drum kit, 285 00:48:14,138 --> 00:48:16,572 not just boom-bash, boom-bash. 286 00:48:16,640 --> 00:48:21,168 You've got so many different sounds on a drum kit, depending on how you hit it, 287 00:48:22,279 --> 00:48:24,804 where you hit it, you know. 288 00:48:26,016 --> 00:48:30,316 And it's using these sounds in the right place 289 00:48:31,555 --> 00:48:34,149 that makes the music better. 290 00:48:34,191 --> 00:48:38,685 This is what Baby Dodds did and what Max Roach does, 291 00:48:38,729 --> 00:48:43,325 what EIvin does, what Art BIakey did, what everybody does. 292 00:48:43,400 --> 00:48:46,267 You make the other guys sound good. 293 00:48:46,303 --> 00:48:49,670 You make the other guys sound good, that's your gig. 294 00:48:49,707 --> 00:48:51,698 The interpIay between the band 295 00:48:51,742 --> 00:48:54,540 infIuenced every band that was happening, 296 00:48:54,578 --> 00:48:58,378 incIuding VaniIIa Fudge, including probably Hendrix's bands. 297 00:48:58,415 --> 00:49:00,781 We used to play with all those guys. 298 00:49:00,818 --> 00:49:03,753 And it was, Iike, you know, they were, like, it. 299 00:49:03,787 --> 00:49:06,415 The trio, everybody was a superstar. 300 00:49:07,458 --> 00:49:09,449 Ginger did a phenomenal job. 301 00:49:17,268 --> 00:49:21,432 There were peopIe who may have pIayed double bass before 302 00:49:21,472 --> 00:49:27,206 but nobody pIayed 'em as a musical, separate part 303 00:49:27,278 --> 00:49:30,076 the way Ginger Baker did. 304 00:49:30,114 --> 00:49:34,312 What he pIayed on the kick drums was... were unique patterns 305 00:49:34,351 --> 00:49:37,752 that shifted across what he was doing over the top. 306 00:49:37,788 --> 00:49:39,779 Other people played double kick drum 307 00:49:39,823 --> 00:49:44,055 but it was usuaIIy just because one foot wasn't fast enough, to speed things up. 308 00:49:44,094 --> 00:49:47,586 l thought that was just one more step. 309 00:49:48,632 --> 00:49:54,036 He reaIIy now had four Iimbs to express two levels of playing. 310 00:49:54,071 --> 00:49:56,062 lt blew me away. 311 00:50:04,615 --> 00:50:08,984 I think one of the greatest things l ever heard on drums 312 00:50:09,019 --> 00:50:10,611 was Toad. 313 00:50:11,555 --> 00:50:15,184 l'd never heard anything as fluid before. 314 00:50:19,296 --> 00:50:21,787 ln drums, you have one hit at a time, 315 00:50:21,832 --> 00:50:24,960 it's a very percussive, short duration note 316 00:50:25,035 --> 00:50:28,630 yet somehow everything kind of fIowed and it rolled. 317 00:56:15,185 --> 00:56:17,779 l think it was in Texas on the... 318 00:56:18,422 --> 00:56:21,391 big tour, the '68 tour, 319 00:56:23,560 --> 00:56:27,621 where Eric just said, ''Man, l've had enough.'' 320 00:56:27,664 --> 00:56:29,894 And l said, ''Yeah, man, so have l.'' 321 00:56:30,901 --> 00:56:33,461 And that was it, the end of the gig. 322 00:56:34,838 --> 00:56:38,706 We toId Stigwood, I don't know whether he believed it or what. 323 00:56:38,742 --> 00:56:44,180 We did what we set out to do and l think we couldn't have done any more. 324 00:56:44,214 --> 00:56:47,012 I think it Iasted just the right length of time 325 00:56:47,050 --> 00:56:49,245 to make the little statement that we had. 326 00:56:49,319 --> 00:56:53,050 I never thought that I wouId be in a commercially successful band, 327 00:56:53,090 --> 00:56:57,789 I didn't set out to do that in my Iife, it just happened that way. 328 00:56:57,828 --> 00:57:01,730 I'm very gIad that it did, though. lt was a great experience. 329 00:57:02,799 --> 00:57:06,929 I didn't reaIIy ever wanna be tied down to a band. 330 00:57:06,970 --> 00:57:09,700 The minute it started to get too... 331 00:57:09,740 --> 00:57:11,731 too much like a prison, 332 00:57:12,609 --> 00:57:15,669 or too routine, then l'd wanna get out. 333 00:57:15,712 --> 00:57:18,909 Just the gypsy side of me, just moving on. 334 00:57:18,949 --> 00:57:20,940 lt was... 335 00:57:20,984 --> 00:57:22,815 lt was just the end of it. 336 00:57:22,853 --> 00:57:26,687 We did the goodbye Cream concert at the Albert Hall, 337 00:57:26,757 --> 00:57:31,854 and we did the Goodbye aIbum which was some of that tour live 338 00:57:31,895 --> 00:57:34,455 and we did three tracks in LA. 339 00:57:36,466 --> 00:57:38,457 And that was it, yeah.30224

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