Music N' Other Drugs

Four studio albums in three years is all we got from Cream before the tension between Jack Bruce and Ginger Baker became insurmountable. From 1966 to 1968, they, along with Eric Clapton, rode a wave of creative combustibility to become one of the most influential bands of the 1960s. If Clapton was God, then Bruce was Jonathan Edwards delivering rock ‘n’ roll sermons to a public hungry for absolution and Baker was the talented curmudgeon anxious to challenge him at every turn.

One wouldn’t expect such a short run to result in a Hall of Fame career, but the material really was THAT powerful. The combination of Bruce’s snarl, Clapton’s soloing, and Baker’s thunderous jazz shuffle could be magical at times and messy at others, which, given what we’re getting from the mainstream in 2024, sounds exactly like what we need for rock to make us feel again.

“Heavenly Cream” is a collection of acoustic takes on the Cream catalog that dropped late last year and I had the pleasure of speaking with Malcolm Bruce, Jack’s son, about how the project came to be. While the idea of trading a sea of Marshall stacks for a Martin might not be appealing to everyone, the list of guest appearances should be enough to sweeten the deal.

MNOD: “Heavenly Cream” must have been a bittersweet project for you to partake in. How did you get involved?

Bruce: Pete Brown, Cream’s lyricist, was involved and the record label thought it would be interesting to put an acoustic spin on this material. The process began in 2017-2018, so it took five years to finally see a proper release. I wanted to put a new, fresh perspective on songs that were previously known for Marshall stacks and that ‘wah wah’ sound. Hearing them with acoustic arrangements is not what’s expected, but it was definitely a fun experience to carry on my dad’s tradition.

MNOD: Because there were so many guest appearances on this album, how difficult was it to coordinate everyone’s schedules to make things happen?

Bruce: Paul Rodgers was the only one whose contributions were made remotely. Everyone else was able to get together in the studio at one point in time and record traditionally with minimal overdubs at Abbey Road Studios in London. I loved working with guys like Bobby Rush, Clem Clempson, and Bernie Marsden among many others.

MNOD: Speaking of Bernie Marsden, this album serves as something of a tribute to him, Pete, Mo Foster, and Ginger Baker following their deaths in the wake of recording.

Bruce: I agree. It’s definitely an interesting part of it, but also a lovely way to remember them. They all had long, varied careers, and, when you listen to this album now, it’s quite moving. I’m grateful that we were able to bring everyone together before it was too late.

MNOD: Despite only being around for a few years, the musical imprint of Cream is significant. What do you think it is about the music that continues to captivate listeners?

Bruce: Their place in history is secured, because it was a time when actual musicianship and writing was valued. There’s something very primal and not manufactured about their sound that speaks to people. They influenced a lot of people on the strength of their material, but the fact that they emerged during a very powerful era also played into it. My dad was always very proud of the time he spent with Eric and Ginger despite being involved in so many different projects after that. They didn’t always get along, but they achieved a level of success that none of them could ever really escape. Having Ginger be a part of ‘Heavenly Cream’ legitimized the whole project in a way, because it was a great honor for all of us to have him there. It wasn’t a tribute album so much as it was a fresh take on the material. While he could be short-tempered at times, Ginger was happy to be there like we all were. For a current example of why Cream’s era still matters, just look at the charts. The Beatles and the Rolling Stones are both near the top and it’s 2023.

MNOD: How encouraging was your dad when you decided to pursue your own career in music?

Bruce: He was very encouraging, but also realistic. It’s not an easy journey. You have to be committed to the lifestyle. Feeding your kids and paying your rent are priorities, so you have to be uncompromising. It’s not always everything that it’s cracked up to be. There was a lot that happened behind the scenes that fueled Cream’s performances in the early days. When they reunited for the Royal Albert Hall show in 2005, all of that drama was water under the bridge. For me, I’m planning to put out a solo record next year with bass, piano, and guitar. I’ve developed my own sound away from what my dad did. It’s not classic rock. My only hope is that I have the influence of my dad, but not too much.

MNOD: When you look back at your dad’s career outside of Cream, what comes to mind?

Bruce: He was a consummate musician. He could do jazz, rock, classical, or anything else he wanted to do. His solo albums were full of such diverse material, because he went through different incarnations of who he wanted to be. His first album, ‘Songs for a Tailor,’ is probably his definitive statement. He was at the height of his powers and brought a personal point of view to things. Of course, there’s also the stuff he did with Zappa, Lou Reed, BBM, The Tony Williams Lifetime, and John McLaughlin, so you can’t go wrong with anything he did. You can go right through his catalog and trace his evolution.

MNOD: Are there any plans to bring the acoustic versions to the stage?

Bruce: I’d love to, but it’s up to the label. Having this many guests on the album makes putting a tour together difficult. Joe Bonamassa is a lovely guy to play with, but he’s got his own agenda and own stuff going on. The album has gotten positive reviews so far, so I’ll probably play Cream tunes live with my own band and see what happens from there.

“Heavenly Cream” is available now wherever music is disseminated, but do us all a favor and pay for a physical copy.

http://www.malcolmbrucemusic.com