wheels of fire "crossroads" edited?

I posted this on another forum, but I figured some of the people here might know better:


it sure sounds like there is an edit right at the beginning of the last verse of this tune on "wheels of fire".....like they cut out a longer jam part of the 2nd solo and tagged on the end verse.

this was recorded at the fillmore ( east? west? ) right?

has anyone compared a bootleg of the actual show to compare?


the general sound of the whole thing changes so abruptly when it gets to that part...the loudness doesn't fade properly, it cuts to a whole different "air" if you know what I mean?

I bet in the unedited version they slowed/quieted down a lot before going into the last verse.


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-->a reply to my inquiry: apparently Joe Walsh opened for them at that show, and he recalls it being a longer tune, and they trimmed the solo's down.
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it would be interesting to hear the whole thing, I wonder if they'd consider a release with the unedited set? they must have recorded more than 4 live tunes that night?


anybody know about this?

thx!!

 

IIRC there is an aud tape of that night and Crossroads is exactly the same as it is on Wheels of Fire.

 

Chris is correct. Besides the audience recording, Steve handled the master for the DCC reissue and confirmed that there is no edit on the tape.

 

well, that nips that in the bud!!

thx for the info!!






.....I better go squelch the rumours I've started on the other forum

 

It sure in hell sounds like it though.......right before the "you can run, you can run....tell my friend poor Willie Brown"... line. Maybe it just sounds like an edit because they come out of that big, noisy jam part and then it gets nice and tight again....big contrast.

 

I've got the audience tape, and I agree there is nothing edited "out". But I also thought I heard an edit point in this transition, too.

Steve H. posted on the forum about a year ago that there is definitely not an edit in the stereo master at that point. His post will be in the archives somewhere...

It's just two bad that all the unreleased Fillmore/Winterland tapes (except for some rough mixes) burned all those years ago...

 

I remember Eddie Van Halen had commented that he swore there had to have been an edit because the solo was just too perfect! I think his 'evidence' was that there is an abrupt change in Ginger's drum playing or a missed beat at a certain point in the solo (can't remember exactly where). Haven't listened to it closely in a while. Anyone?

 

You don't became a guitar god by needing edits to cover your flubs or slow transitions.

I thought Roger McGuinn's guitar work was edited on "Eight Miles High" until Chris Hillman told me he did it live in the studio(!). Then, not long after, I saw an episode of AUSTIN CITY LIMITS where McGuinn repeated the feat with an acoustic guitar. Still amazing!


ED

 

I don't think it's the solo that is in question, it's the part RIGHT after the solo, where the EQ sounds a bit funny on the drums....but ya know what, who friggin cares, it's a great song!

 

what?

I guess that's why none of it's ever been released





I was thinking, maybe the sonic difference is caused by the recording mics at the venue....you know how if you hit a mic with a loud signal ( ie: Cream jamming real loud during the solo) it compresses the signal & drops the volume.....well, after they all drop out of the loud section the mic becomes more sensitive again & the dynamics change.

??

I know from playing my amp loud, if the amp is cranked & I play quietly my mic will pick it up real well, but as soon as I start slamming it the mic compresses the signal, and it sounds quieter on the recording, even though it's about 10x louder in real life......could be the reverse of this effect.

 

I have a copy of the show in question (it was actually recorded in March 1968 at Winterland, not the Fillmore. If memory serves, the only true Fillmore recording on "Wheels Of Fire" is "Toad".) Anyway--the audience recording of the show reveals that nothing was taken out of the "Wheels Of Fire" version--it is note for note, the same. For comparison I have a good SB recording of the beginning of Cream's "farewell tour" recorded in Oakland on October 4, 1968. They clearly hadn't played live for a while and Crossroads is completely different on this particular recording. It's tempo and rhythm are altered considerably and actually sound closer to the arrangement that Clapton later used with Derek and the Dominos and "The Palpitations" (the name given to his Rainbow Concerts band). As Ginger reveals just before the encore the are "a bit rusty" at the Oakland show but they still managed some moments of greatness.

 

I don't mean t to hijack the thread, but Ed mentioned his amazement of Roger McGuinn's solo on Eight Miles High. Back when PBS broadcast "Rock N' Roll," the series Robert Palmer worked on, they have several interview clips with Roger where he just casually tosses off a good chunk of the solo. It looks SO effortless (he played it as if he was just practicing scales), yet sounded so great, my jaw almost hit the ground!