Cream – Disraeli Gears
The music gear and equipment used by the artists, producers, engineers, and more involved in the making of the 1967 album Disraeli Gears.
Music from Disraeli Gears
Artists on Disraeli Gears
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Roles:
Groups:
Mark Knopfler’s Guitar Heroes Cream Derek and the Dominos The Yardbirds The Plastic Ono Band John Mayall & the Bluesbreakers Eric Clapton & His All Star Band George's Band The Secret Police The Louisiana Gator Boys The Dirty Mac Blind Faith T.D.F. The Singing Rebel's Band The Singing Rebel's Band Eric Clapton and the Powerhouse Delaney & Bonnie and Friends Eric Clapton & The Powerhouse Immediate All Stars Eric Clapton And His Band Slowhand and Van Sting with Eric Clapton Sean Head Showband B.B. King & Eric Clapton -
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Gear Used On Disraeli Gears
Explore the instruments, equipment, software, and production tools used in the making of Cream – Disraeli Gears (1967). Click more on each item to see exactly how it was used.
Eric Clapton
Roles:
Effects Pedals used by Eric Clapton on Disraeli Gears
Sola Sound Tone Bender Professional MKII
"The various iterations of the Tone Bender have had many circuit configurations, but it’s best known as a three-transistor germanium design, typified by the Professional MKII. This is the pedal associated with Jimmy Page during the early days of Led Zeppelin, and was a key component of Eric Clapton’s “Woman Tone” on the Disraeli Gears album by Cream." According to writer Tom Hughes, author of Analog Man’s Guide To Vintage Effects
Strings used by Eric Clapton on Disraeli Gears
Fender Rock N’ Roll 150 Strings
Avg price: $10.01
From a 1968 interview with The Rolling Stone Magazine:
[R.S.]: What does “Disraeli Gears” mean?
[E.C.]: It’s a pun; it doesn’t mean anything. In England there is a big thing on racing cycling and on the back wheel, fixed to the hub you have a gear with ten gears, called a “derailer.” That’s the pun. We were just in a car one night kicking up puns, like Duke Elephant and Elephant Gerald, and “Disraeli Gears” just came up and I said that would be a good name for the record.
[R.S.]: Who’s your producer?
[E.C.]: [Former Mountain bassist] Felix Pappalardi. He’s been working mostly on the folk scene, people like Joan Baez and that. He was just around Atlantic City and said he wanted to do it and we wanted him.
[R.S.]: What kind of guitar and amplifiers do you use?
[E.C.]: A Les Paul, a modern one. A solid one. Same pickups, more or less the same neck, just a different body than the 1958 ones. It’s obviously not as good a sound as the old ones, ’cause they’ve got vintage, like old wine. I haven’t got any old ones still intact, they’ve all gotten broken, warped. When a guitar is that old you’ve got to be careful. There’s a maker, I think it’s Hagstrom or someone like that, that’s copying the old Les Pauls, but I wouldn’t buy one.
[R.S.]: Amps, and how do you set them?
[E.C.]: Two 100-watt Marshalls. I set them full on everything, full treble, full base and full presence, same with the controls on the guitar. If you’ve got the amp and guitar full, there is so much volume that you can get it 100 miles away and it’s going to feed back – the sustaining effect – and anywhere in the vicinity it’s going to feed back.
[R.S.]: Strings?
[E.C.]: Fender rock and roll.
