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great idea!

cool project - looking for animators?

Nice job putting that together. Their music is something special.

Thanks for sharing some really cool memories from some REALLY fantastic shows!! Really enjoyed listening to the reminices, cheers!!

I noticed in the description, you incorrectly wrote "EOL" when you know it's really ELO. Could you please correct the error?

Awesome!

Lets put to bed once and for all, the persistent lie that Clapton's ES-335 was the same guitar he use during the Yardbirds....nope, that is a myth! Tony Bacon who is an EXPERT on Gibson guitars and wrote a book on the history of the ES models i.e., the 335, 345 and 355 etc. Through exhaustive research, Bacon proved using serial numbers, photos and interviews, that the ES-335 Clapton used at Cream's Farewell concerts at the Royal Albert Hall on November 26, 1968, was *not*, let me repeat, NOT the same block inlay ES-335 seen with the Yardbirds when EC borrowed it from Chris Dreja. Bacon proved by researching the serial number of the Albert Hall 335, that it was manufactured by Gibson AFTER Chris Dreja & Clapton were using the original Yardbirds block inlay 335. That 335 was destroyed by a fallen PA cabinet as witnessed by Keith Relf and Dreja replaced it with a DOT NECK ES-335 that EC also borrowed (clearly identifiable in later Yardbirds photos), when he was tired of playing his Fender Tele or Jazzmaster). Before I go into more of Bacon's detail, Bacon discovered that Clapton purchased his ES-335 in mid-November 1968 from a salesman named Jerry Donahue who personally sold the 335 directly to Clapton just a few weeks before Cream's farewell concert at London's Royal Albert Hall. Bacon's research revealed how Chris Dreja's block inlay 335, was long gone and no sign of a 335 ever appeared in Clapton's hands again throughout his tenure with John Mayall's Blues Breakers & Cream from 9-66 through June 68 until November 26, 1968, when EC showed up with his newly purchased ES-335 to use for the Royal Albert Hall farewell shows as seen in photos of their soundcheck & rehearsal plus the BBC movie itself where EC used the 335 for the SECOND show. The first show featured EC on his Firebird. Bacon clearly presented the 1-ton elephant in the room: If Clapton had really owned a mysterious "second" ES-335 with block inlay's during the Yardbirds & based on photos, either never played it (because he used Dreja's) or only rarely touched it, then it begs the question...WHY keep it locked up gathering dust if he loved the tone so much? Especially after joining John Mayall's Bluesbreakers where he certainly would have preferred the thick, vocal tone of a Gibson versus the Telecaster which he is seen STILL using during the early days of the Blues Breakers. So after joining the Blues Breakers, Clapton was driven to purchase a Gibson and finally settled on the Les Paul "Beano" and the rest is history. If he had a secret ES-335 all that time, which is ludicrous, just to keep locked up then finally dust it off in time for the Royal Albert Hall Farewell show at the very end of Cream is ridiculous and, thus did NOT Happen......why? Because Bacon proved the Albert Hall 335 block inlay was purchased in mid-November at Selmer's music, sold to Clapton by Jerry Donahue an American guitarist who had a gig working at Selmers, capiche? End of story, so unless Clapton had a SECOND ES-335 block inlay he covertly kept locked up back in London and NEVER played in public, the truth is, as painful as it must be for people that for unknown reasons are fanatically in love with the idea he used a 335 all through Cream, Clapton did NOT own his own ES-335 until mid-November 1968 when Jerry Donahue, (who will never forget the experience), sold a used 1964 ES-335 to Clapton at Selmer's Music in London. Clapton DID use many guitars during early Cream, like Les Paul standards, (at least 3), two Les Paul customs, a Danelectro, a Gibson Les Paul Junior, a Stratocaster for one early Cream performance (seen in photos) as a backup, a mid 50s Les Paul Gold Top, a Guild & Martin acoustic flattop and finally, the 1964 SG standard that he had painted by the "Fool" which became his number ONE ax throughout most of Cream from around March 67 through parts of May 68 then he retired it in June 68 in favor of his Firebird, & gave it to George Harrison who gave it to Jackie Lomax and the rest is history. I got to go but for those who feel compelled to believe the Burst Brother's myth, knock yourselves out, its like believing the moon landing was a hoax, McCartney was replaced by a clone in 1967 or anything Fucker Carlson says while enjoying a large enema up his rectum😄

Hendrix DID NOT BLOW ERIC AWAY WITH HIS MASSIVE STYLE, this is an endless, propagated myth....it's total, erroneous bullshit and part of the Hendrix mythology which like Jesus, is promulgated relentlessly and a usual,, the LIE always wins throughout human history. Clapton was only surprised by Hendrix's STAGE ANTICS, not the actual content of his playing, i.e., rubbing the guitar between his legs, playing with his teeth, etc. but NOT the actual riffs, or typical pentatonic approach that was anything EC couldn't do or was he any faster. Hendrix considered Clapton his "white soulmate", i.e., the only guitarist who could seriously challenge him and in truth, for anyone with credible guitar experience like myself who has played for 50 years and SAW Clapton and Hendrix LIVE IN THEIR PRIME, know the "facts" and judge a guitarist objectively not subjectively. Both were monsters but in terms of influence and accessibility, Clapton's guitar work was far more copied and incorporated into the lexicon of blues-rock guitar including his phenomenal Gibson-Marshall tone. The live Winterland "Crossroads" by itself, released on "Wheels of Fire", is arguably considered by most pros as the greatest LIVE guitar solo ever recorded and nothing has come close in the last 54 years. Page & Beck shamelessly copied Clapton's sound and were considered by many, "Clapton understudies". Although both Clapton & Hendrix were roughly equal in technical terms i.e., actual gymnastics, and note selection within the blues genre, in terms of LIVE playing, Clapton was actually superior in as far as consistency, articulated attack, tone, architecture etc. where Hendrix tended to be more erratic, out of tune and far more self-indulgent during live shows but since it's now heresy to even DARE to critique Hendrix on any level as if you were discussing Jesus, he continues to be crowned as the default "greatest guitarist" of all time" even though he's been gone for 52 years. It's beyond ludicrous to crown him as the "greatest" which implies he apparently also played classical, jazz, flamenco and Hawaiian slack guitarist, what?. Clapton's guitar work with Mayall and Cream, if history were, to tell the truth, which it rarely does, had a FAR more profound all-pervasive effect on the thousands of guitarists, including professionals than Hendrix did when they were both active in 66, 67 & 68, going head to head. Clapton BEAT Hendrix on at least three polls between 67 & 68, & even early 69 so it proves how Hendrix's myth, a myth that has elevated & deified him, endowing him with supernatural powers he never had in reality, only expanded years after his unfortunate death. The endless hype surrounding Jimi would undoubtedly embarrass him if were alive to witness it, especially since he, in reality, was a quiet, fairly humble guy. The reality is, within the world of rock, pop and even blues, its the musicians who expired & left the planet early who ironically become legends & mythologized. If it had been Clapton who overdosed and died 52 years ago, then you can count on the fact, HE would be the mythologized, deified guitarist showered with endless accolades and powers beyond reality. The truth is, BOTH Clapton & Hendrix were the greatest electric guitarists of their time, BOTH set a new gold standard for all guitarists to follow and neither one was overall superior to the other excluding each player's own special area of unique talent. Where Clapton was the master of vocal, majestic, near-perfect solos, Hendrix mastered hybrid chord melody forms with his unique rhythmic approach.

Love Cream.

Only blabla