Tag Archives: Psychedelic Supermarket

Pulse: Thanks For Thinking Of Me …






Thanks For Thinking Of Me But It’s Alright is the closing track of Side 1 from the self-titled Pulse album from 1969. After it was written and we arranged it in late 1968, it was also almost always Pulse’s opening tune in concert.

The group Pulse was based in New Haven, Connecticut, more specifically Wallingford at Syncron Studios soon to become Trod Nossel, which is still operating, and managed and produced by Doc Cavalier. The first version of the band was a six-piece. We started rehearsing in January, 1968 and were together until almost mid-1970. There was a four-piece group for the remainder of 1970.

The personnel: Carl Donnell (Augusto), vocals, guitar; Peter Neri, lead guitar, vocals; Beau Segal, drums; Paul Rosano, bass, background vocals; Jeff Potter, harp, percussion; Rich Bednarzcyk, keyboards.

The album was recorded in 1968 and early 1969, this track as stated probably late ’68. It was written by our drummer Beau Segal. We were huge fans of the Butterfield Blues Band, one of our main influences at the time, and we had seen them a number of times at the Cafe Au Go Go in New York and the Psychedelic Supermarket in Boston as well as the Oakdale Theatre in Wallingford.

Beau has said he took the lead line from a Butterfield tune he heard live. I know the one. Actually he embellished it a bit. If you listen to a live version of the tune by Butter it doesn’t have the chromatic ascent or the closing phrase that bounces off a minor third. And in fact, it’s not a Butterfield composition.

Butter was covering a Little Walter tune. Everything’s Gonna To Be Alright (1959). Butter’s version changed several times over the years. The only studio track I’ve heard is from an early session on the Original Lost Elecktra Sessions, which pre-dates the first Butterfield Band album.

It didn’t start with Little Walter either. The line was used by Elmore James in his Dust My Blues from 1955 as his closing solo. There are probably other examples from that time frame.

If you dig deeper you’ll hear the line as a part of the vocal melody on the bridge of Robert Johnson’s Kind Hearted Woman Blues, and the line is the basis for the main melody in Johnson’s Sweet Home Chicago. Wonder where he heard it if he didn’t originate it himself.

This stuff is fascinating, the Blues tradition. It’s reminiscent of the folk tradition in which entire chord structures and melodies of existing tunes were continually updated with new lyrics, particularly in the ’50s and early ’60s.

Going forward, it pops up in a number of other unusual places. In 1970, Atco Records released Live Cream, which included a studio outtake Lawdy Mama. The original Cream version of this song was a shuffle and included the same lead line. The outtake on Live Cream sees the track changed to a straight rock feel with the line still used but stretched out a bit.

However, many of us have heard this line hundreds of times on a slightly different track. The group ditched the Lawdy Mama version of the song when Felix Pappalardi was brought in to produce and his wife, Gail Evans, wrote new lyrics creating the tune Strange Brew. I never recognized the similarity until I heard the shuffle version of Lawdy Mama by Cream on a grey market item.

Eric Clapton would use the line again to good effect in his outstanding version of Sweet Home Chicago on the Sessions For Robert J album (2004). And so it goes.

The Butterfield Band was and remains one of my favorite groups of all-time and is sorely underappreciated. Thanks For Thinking Of Me was our tip of the hat to them, one of our major influences.

Cream at the Psychedelic Supermarket, 1967 & more



Jack Bruce, Ginger Baker and Eric Clapton live at the Psychedelic Supermarket in Kenmore Square, Boston, September, 1967.
Jack Bruce, Ginger Baker and Eric Clapton live at the Psychedelic Supermarket in Kenmore Square, Boston, September, 1967.

About six months after writing a series of pieces in 2009 on Cream concerts I’ve been to, I was contacted by Ken Melville. Ken was in the band Catharsis in Boston in September, 1967 and opened for Cream for their one-week run of concerts at the Psychedelic Supermarket in Kenmore Square, just a stone’s throw from Fenway Park.

I went to see Cream on a Sunday, the first night of the engagement, which was supposed to last two weeks but only survived the one. A detailed description of the concert, a particularly memorable one, is available here.

I do recall an opening act, but don’t remember much about the band. To my amazement, Ken sent me some photos from that week after leaving a comment on one of the posts. Taken by his girlfriend with a Kodak instamatic, as I recall, the photos above and on the following page show the band on stage and in the dressing room with Ken and some of his friends.

It’s all quite remarkable really that more than 40 years later, we’re viewing photos from that week.

Also on the page, you will see two shots from their June, 1968 date at the original Oakdale Theatre in Wallingford, Conn. A piece on the two shows at Oakdale and the last concert I saw of Cream during this stretch in the fall of 1968 at the New Haven Arena during the Farewell Tour is available here.

It took a jury of people to identify the Oakdale shots, which I’ve come across through an astute friend on the Internet. A fellow who worked at Oakdale and another similar summer tent theater in Rhode Island identified it by the lighting grid you see above Clapton’s head. Also the shot with Jack Bruce sitting on the edge of the orchestra pit includes Rich Bednarczyk in the foreground of the pit, surfer blond hair, who played keyboards for my band Pulse.

There is also a piece on this site describing the April, 1968 concert at Woolsey Hall at Yale in New Haven here.

If you’re an avid Cream fan, it’s likely you’ve already come across these. The only place I’ve seen them is in a few of Ken’s posts to a music forum. The subject, of all things, started out as a discussion of whether Clapton used a Gibson ES-335 on the classic cut Crossroads from Wheels Of Fire. I don’t think that was ever resolved but some of the discussion is interesting and, of course, Ken’s photos are the highlight.

All quite heady. Click on continue reading for the other shots. Continue reading Cream at the Psychedelic Supermarket, 1967 & more

Concerts Vol. 4: Heavy Cream




cream-woolsey-tix-light

In Concerts Vol. 3, I wrote about the single concert performance that was probably the best out of hundreds I’ve attended and certainly the most influential: Cream at the Psychedelic Supermarket in Boston, September, 1967.

That wouldn’t be the only time I would see this amazing trio. I was lucky enough to see them three more times in a little more than a year. The second opportunity came in April, 1968. I was still going to school in Boston at Berklee School of Music and coming home on weekends to rehearse and/or play the Connecticut club scene with Pulse.

cream-another-portraitCream was scheduled to play at Boston’s Back Bay Theatre in April, but they were also going to play near my hometown in New Haven at Yale’s Woolsey Hall on April 10th and I decided to come home for that, mainly because I had a new girlfriend who was still in school in New Haven. This would be our first big concert date. That made sense.

The intact ticket above is from that date. I didn’t  hold on to many tickets or stubs from that period, but I kept this one tucked away in an old wallet. I’m glad I did. The reason it’s intact is that the Yale students didn’t take or rip any tickets, they just looked at them. Thank you, Yalies.

After playing for a week of a scheduled two-week engagement in Boston in September, 1967, Cream cut short its stay there over money problems with the owner of the Psychedelic Supermarket, not to mention they disliked Boston because of the discrimination and derogatory comments on the streets they endured, and moved on to play New York at several venues, including the Cafe Au Go Go and Village Theatre (later Fillmore East).

They also played two shows in Michigan, the second at Detroit’s Grande Ballroom in a much booted performance with fairly decent sound, a pretty good example of what they sounded like that fall. From there, they toured Europe fairly extensively, leading up to the release of their second album, Disraeli Gears (November, U.K., December, U.S.), the record that really started to break them as a big act. Continue reading Concerts Vol. 4: Heavy Cream

Concerts Vol. 3: Fresh Cream


I mentioned in Concerts Vol. 1 that one of my earliest major influences from a live show was seeing the Paul Butterfield Blues Band at the Cafe Au Go Go in the winter of 1966-67. That remains true but there was a series of concerts that had an even bigger impact for me. I saw Cream play live four times in 13 months between September, 1967 and October, 1968. After the first show, nothing would ever be the same for me musically.

I had just arrived in Boston for freshmen orientation at Boston University in the first week of September, 1967. Back then, freshmen came up to the school for a full week before classes, unlike today when orientation is usually finished up in less than two days by many colleges.

classiccreamI was having mid-afternoon waffles at a small breakfast/dinner restaurant near Kenmore Square when my buddies, one of whom was a fellow bass player from Connecticut, and I found out that Cream, yes that Cream, would be playing practically across the street at a new club called the Psychedelic Supermarket. I was astonished by my good fortune that Cream, one of my favorite bands would be in town, just a few blocks from my dorm on Commonwealth Avenue, and that they were scheduled to play for two weeks! I intended going more than once.

My first encounter with Cream was in one of the old listening booths at one of the best record shops in Connecticut in the ’60s, Cutler’s, which was on Broadway in New Haven. In the spring of 1967, my friend and fellow band-mate in the Bram Rigg Set, Beau Segal, told me I had to check out this group from England that featured the Cream of the crop among British blues musicians and were aptly named.

I went down to Cutler’s with a friend, Holly Lovig, who if you remember accompanied me on the trip to see that first Butterfield concert in New York. Those listening booths at Cutler’s were great. One of the clerks would spin a record on a turntable in back of the store’s elevated counter and pipe in the music to one of I believe at least two booths, which was wood and glass and had a large glass pane in the door so you could look out at the store while you listened. Precursor to the headphones you find at record stores today. Continue reading Concerts Vol. 3: Fresh Cream