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Goodbye Original recording reissued, Original recording remastered

4.3 out of 5 stars 82 customer reviews

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Audio CD, Original recording reissued, Original recording remastered, April 7, 1998
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Editorial Reviews

Rock's first great power trio went out with a bang. They were at their thrilling live best on Politician and I'm So Glad and came up with two more stellar originals: What a Bringdown and the hit Badge (co-written with George Harrison). A #2 LP from '69.
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Product Details

  • Audio CD (April 7, 1998)
  • Rmst ed. edition
  • Number of Discs: 1
  • Format: Original recording reissued, Original recording remastered
  • Label: Polydor
  • ASIN: B0000067L4
  • Average Customer Review: 4.3 out of 5 stars  See all reviews (82 customer reviews)
  • Amazon Best Sellers Rank: #27,263 in Music (See Top 100 in Music)

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Top Customer Reviews

By J P Ryan on November 13, 2004
Format: Audio CD
This fourth and final album to be issued--in January 1969--during Cream's two-and-a-half year career is probably their most consistent, and among their best. At six songs in just over thirty minutes, it's short, and for anyone awaiting a major final statement in 1969 it must have been a bringdown. But looking at the group's work 35 years later, it is by far their tightest album, with nary a weak cut.

"Fresh Cream" (December 1966 - the US version issued early in 1967 is superior)was Cream heavying up the blues. Some of Clapton's most blistering guitar can be found on this mix of originals (by Jack Bruce and Ginger Baker) and blues covers. The best version on CD is DCC's gold disc, combining the UK only track ("Spoonful") with the US only track (the classic "I Feel Free") and adding both sides of Cream's debut single ("Coffee Song"/"Wrapping Paper"), all nicely annotated. "Disreali Gears" lacks the sonic impact of the debut, but shows Cream's progress away from blues derivations to a more integrated sound: fine pop hooks adorn blues/psych originals. Clapton is more subdued as a guitarist, but makes his presence felt as both vocalist and (for the first time) songwriter, and there are more varied tonal colors and moods, from the proto-Zep mythology of "Brave Ulysses" to the haunting, downcast "We're Going Wrong." Much of the progress is due to new producer/multi-instumentalist (and virtual fourth member) Felix Pappalardi, who had produced Fred Neil and the Youngbloods, and would go on to found Mountain in 1969.
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Format: Audio CD
It's always amazed me that so few people realize how great this album really is. Many criticize it for just having "long jams". That's kind of like criticizing John Coltrane or Miles Davis for playing "long jams". But this is what made Cream great. They were the greatest instrumental and improvisational band in the history of rock music with phenomenal guitar solos by Eric Clapton and with amazing interplay between Clapton's guitar and Jack Bruce's great bass playing. Why anyone would prefer their first two studio albums with only one or two choruses of guitar solo to this is beyond me. And on top of it Badge on this album has in my opinion Clapton's most beautiful studio guitar solo ever. Only Wheels of Fire can compete with this album, but in my opinion only Crossroads on that album attains greatness, while all three live tracks on this album do. Just listen to the intro guitar chorus on Sitting on Top of the World. It still sounds unreal today, but I remember hearing it back when this first came out, and it was stupefying. I remember after seeing Cream perform live Steve Miller said about Clapton that he couldn't believe that anyone could be that good. That's the kind of playing that's on this album. My guess is that the people who rate this album poorly see rock music essentially in terms of songs and singing and do not understand great instrumental music. But most of the world's greatest music is instrumental music, and Cream provided the greatest instrumental music in the history of rock music.
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Format: Audio CD
The song "I'm So Glad" alone makes this Cream's most important album.
On the subject of Cream everyobdy always says Clapton, Clapton, Clapton, but what made Cream great was Jack Bruce and his invention of a unique free-form flavor of rock music that exploded the song conventions of the mid sixties. Bruce studied classical music at university until he was driven to drop out by the narrow-mindedness of his teachers. But in school he learned a love of Bach's use of multiple melodies working in counterpoint--which led to the three-ring circus effect in Cream's music of Bruce playing interesting, dramatic, creative bass lines underneath Clapton's guitar solos, while Ginger Baker did interesting things on the drums.
Jack Bruce and Cream drummer Ginger Baker were also students of the free-form jazz and rock invented in the U.S. in the late 1950s and in the 60s. They followed Ornette Coleman (see the album Friends and Neighbors--it came out later but it was the culmination of Coleman's "Free Jazz" style); they also listened to the Grateful Dead (who were influenced by Ornette Coleman as well--check out the Dead's Blues for Allah as well as "Ladies and Gentlemen"). Cream influenced Miles Davis's free-form style (Miles's best stuff in this genre was on Live Evil and also On the Corner; it started with In A Silent Way and then Bitches Brew).
Clapton was a great musician but for him it's been downhill since this album Goodbye. Before Cream was started, Clapton was in John Mayall's blues band (check out the wonderful Blues Breakers album), and Mayall made Clapton practise for 8 hours a day, which make him simply an assassin on the guitar. When Clapton joined Jack Bruce, who persuaded him to use his expert playing in a free-form style, Clapton soared.
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