CREAM-WHEELS OF FIRE-POLYDOR DOUBLE LP 1ST PRESS MONO 1968 NICE COPY
£
27
$
35
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Description
CREAM-WHEELS OF FIRE TYPE DOUBLE LP-MONO LABEL/PRESSING INFO POLYDOR 1ST PRESS WITH PRESSING DETAILS:582031 A \/ 1 420 & 582031 B \/ 1 420 & 582032 A \/ 1 420 & 582032 B \/ 1 420 CATALOGUE NUMBER 582031/32 YEAR OF RELEASE 1968 COUNTRY OF RELEASE U.K. SLEEVE TYPE GATEFOLD-E.J. DAY SILVER FOIL WITH EMBOSSED OVERLAID BLACK PICTURE AND WRITING. INSERTS/EXTRAS NONE GRADING/CONDITION DISC(s)
EXCELLENT+( A NICE PAIR a well preserved without any doubt and hardly a mark across all 4 playing surfaces,and play just as they should with a brilliant 60's MONO reproduction and as raw and earthy as it ever was,you try getting this from your pod)
LABELSEXCELLENT+( NICE CLEAN LABELS with NO writing stickers,rips or tears and just LIGHT spindleusage)
SLEEVEFront board and Inner Gatefold EX+ YEAH I know we will make the sleeve cover it with silver foil and then overlay it with a black ink that'll look really cool,and so it did 1968.44 years later when you find these things there are a lot of sorry looking ones about that dont look so cool anymore,This is pretty cool though,and has fared better than a lot of em,the texturing is mostly intact and you can rub your fingrs lightly across the surface and still feel the roughness,and there are no rips stickrs or writing anywhere,just a bit of very light rubbing pressure wear at the top and the bottom and a bit of light creasing.INNER GATEFOLD is clean and unmarked with just a bit of light wear,and the only thing of note is a very small (half the size of a little finger nail) surface scuff on the left board upper left. Rear board EX+ MUCH as the front,nice and clean with LIGHT wear and just a very light pressure ring. Flipbacks N/A N/A Spine EX Uncrushed and mostly complete has a crack to the laminate running its length. Edges EX Top and bottom edge have only light rubbing wear with some colourloss Opening EX BOTH openings have only LIGHT wear and VERY LIGHT usage Corners EX ALL 4 corners havesome light wear with a bit of colourloss and rounding INNER /EXTRAS
N/A
DETAILSIf Disraeli Gears was the album where Cream came into their own, its successor, Wheels of Fire, finds the trio in full fight, capturing every side of their multi-faceted personality, even hinting at the internal pressures that soon would tear the band asunder. A dense, unwieldy double album split into an LP of new studio material and an LP of live material, it's sprawling and scattered, at once awesome in its achievement and maddening in how it falls just short of greatness.
It misses its goal not because one LP works and the other doesn't, but because both the live and studio sets suffer from strikingly similar flaws, deriving from the constant power struggle between the trio. Of the three, Ginger Baker comes up short, contributing the passable "Passing the Time" and "Those Were the Days," which are overshadowed by how he extends his solo drum showcase "Toad" to a numbing quarter of an hour and trips upon the Wind & the Willows whimsy of "Pressed Rat and Warthog," whose studied eccentricity pales next to Eric Clapton's nimble, eerily cheerful "Anyone for Tennis."
In almost every regard, Wheels of Fire is a terrific showcase for Clapton as a guitarist, especially on the first side of the live album with "Crossroads," a mighty encapsulation of all of his strengths. Some of that is studio trickery, as producer Felix Pappalardi cut together the best bits of a winding improvisation to a tight four minutes, giving this track a relentless momentum that's exceptionally exciting, but there's no denying that Clapton is at a peak here, whether he's tearing off solos on a 17-minute "Spoonful" or goosing "White Room" toward the heights of madness.
But it's the architect of "White Room," bassist Jack Bruce, who, along with his collaborator Peter Brown, reaches a peak as a songwriter. Aside from the monumental "White Room," he has the lovely, wistful "As You Said," the cinematic "Deserted Cities of the Heart," and the slow, cynical blues "Politician," all among Cream's very best work.
And in many ways Wheels of Fire is indeed filled with Cream's very best work, since it also captures the fury and invention (and indulgence) of the band at its peak on the stage and in the studio, but as it tries to find a delicate balance between these three titanic egos, it doesn't quite add up to something greater than the sum of its parts. But taken alone, those individual parts are often quite tremendous.
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