As A Very Young Instrument The Electric Bass Guitar Has Made Massive Strides In Changing The Sound Of Modern Music, More Than Alot Of Other Instruments That Come To Mind,
Just Imagine The Beatles “Come Together” Without Paul McCartney`s
Famous Bass Lines, Or Try To Picture The Cream WithOut A Electric Bass, All Those Songs We Grew Up With ,Would Not Have Been Possible
Just 30 Years Earlier When Leo Fender In The Late 40`s,Came Up With The First Electric Bass Guitar. Here Are Some Examples To Recon With
Just Imagine This Music With No Bass Guitars, Then you realize how
the bass guitar has changed the world.
The Bass was a huge part of our modern early music
More than anyone else, it was Cream who changed the face of British rock music.
They took the fusion of blues and rock pioneered by Alexis Korner and John Mayall to places where it had never been before. They employed a level of group improvisation
that was worthy of free jazz. In fact, their music had basically three layers:
a pop melody, lengthy solos inspired by free jazz,
and a propulsive rhythm’n’blues beat.By the electric Bass Guitar
They indulged in guitar distortions and dissonant solos that were shocking for an audience raised on the Beatles. Even the soul-jazz melodies of Sunshine Of Your Love (1967) and White Room (1968), while not revolutionary, pointed towards a more sophisticated kind of “pop” than the childish refrains of Mersey-beat.
The Bass Guitar Builds Music
Cream was the most successful of the blues revival bands, forcing British rock that at the time still fed on pop tunes, to an abrupt reversal of direction.
The Who had already given it a try, and the Rolling Stones and the Yardbirds had already reformed the blues in a revolutionary way, while Bob Dylan had experimented with long topical songs on Blonde On Blonde.
But it was Cream that made the new genre happen.
Cream was the band that altered the format of the rock song: long free jams recorded live instead of three minutes of verse, bridge, and chorus recorded in the studio.It would have been way too boring without the Bass Guitar.
They sold fifteen million albums in three years, a record that made the Beatles seem like losers.
The members of this power trio, formed in the autumn 1966, were all veterans of the blues revival. Guitarist Eric Clapton was the same prodigy who revealed himself with the Yardbirds,
and who had contributed to the legendary recording of Bluesbreakers with John Mayall. Drummer Peter “Ginger” Baker, skilled at many forms of percussion, had already played, in 1960, with the Nigerian musician Fela Anikulapo Kuti, and in 1962 with Alexis Korner and the Graham Bond Organisation. Scottish bassist Jack Bruce had traveled some of the same roads as Baker, before joining Manfred Mann. Bruce and Clapton had met each other in the Powerhouse,
A short-lived lineup put together by John Mayall, that also included Steve Winwood at the keyboard. With Cream these three virtuosos simply brought to fruition the experience that they developed in the London clubs, bringing to the rock concert stage long, electric, high volume improvisations.
Cream debuted with two singles: Wrapping Paper, that belongs to the early psychedelic era, and I Feel Free, the first taste of Clapton’s solos. Fresh Cream (Atco, 1966) was an historic event: Clapton’s high volume distortions, Baker’s acrobatic style, and Bruce’s melodic atmosphere raised ordinary and rather poor material (mostly covers, except for Toad by Baker and NSU by Bruce) to the highest levels. The compositions of Jack Bruce take over on Disraeli Gears (1967), an album decidedly more pop and less bluesy, produced by Felix Pappalardi.
Strange Brew is a typical example of how the group could transform blues into rock for intellectuals who were tired of Beatles pop tunes. Tales Of Brave Ulysses, Clapton’s tour de force, features the introduction of the wah-wah pedal. Sunshine Of Your Love, a long collective delirium based on one of Bruce’s catchy and obsessive riffs,
Remains their masterpiece. And all because of the Electric Bass Guitar
Their fame came with their concerts, which in America instituted a social shock as important as the love-ins of the hippies. Clapton, fast and incisive, Bruce, pulsating and powerful, and Baker, loud and overflowing, created a new standard for popular music.