The Cream Album by Album Thread (Part 2)

Discussion in 'Music Corner' started by hodgo, Apr 18, 2015.

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  1. dino77

    dino77 Forum Resident

    Location:
    Europe
    Love the Blind Faith album, especially Had To Cry Today - great riff and the guitar weaving of Clapton and Winwood is very tasty. Clapton 1st solo, Steve 2nd solo if I remember correctly.

    I read that Jimmy Miller was called upon late in the project to salvage the album after months of unproductive, rudderless sessions.
     
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  2. goodboyfred

    goodboyfred Forum Resident

    Clapton first solo. Clapton & Winwood second solo, just like they played it in 2008.
     
    dino77 likes this.
  3. reb

    reb Money Beats Soul

    Location:
    Long Island
    You must then listen to the shm disc. The drums are awesome, one of the best sounding remasters in that flat transfer series.
     
    ruben lopez likes this.
  4. ti-triodes

    ti-triodes Senior Member

    Location:
    Paz Chin-in
    Is the Platinum SHM better sounding than the MoFi Gold CD? I have the Plat but have the opportunity to get a like new MoFi at a reasonable price.
     
  5. John Buchanan

    John Buchanan I'm just a headphone kind of fellow. Stax Sigma

    Blind Faith


    Ginger Baker – percussion.

    Eric Clapton – acoustic and electric guitars, vocals.

    Rick Grech – bass guitar, violin.

    Steve Winwood – guitars, keyboards and vocals.

    Produced by Jimmy Miller

    The only Blind Faith album, a self-titled album, was released on July 21, 1969 by Atco in the U.S. (catalogue number 33-304) and on August 16, 1969 by Polydor in the U.K. (catalogue number 583059). There was an anticipated storm of protest over the “nude girl” album cover, so it was decided to release the US album with a standard alternative default cover in the U.S. for the bricks and mortar stores (Atco 33-304B) and with the original nude cover available on special order (Atco 33-304A).

    The UK Polydor 583059 album had a gatefold cover with the naked girl on the outer front, the grassy hill on the outer back and 2 different black and white photos (from the same photo shoot at Eric Clapton’s Surrey mansion as the one used for the Atco SD 33-304B cover) for the inside spread. The U.S. albums were not gatefolds, although Atco SD 33-304A included a lyric sheet insert, while Atco SD 33-304B had the lyrics printed on the back cover. Both different covered versions of the album had a sticker applied to the shrink-wrap mentioning that the music contained was the same in both versions.

    Although this band was even more hyped than Cream, it is not currently as widely known. This is disappointing, as the album is a combination of the virtuosity of Cream, with a less abstract and more spiritual feel to the lyrics. The fact that they were a quartet (compared with, say, Cream) allowed all their album songs to be played live, compared with the Cream live repertoire, where many of the studio recordings were beyond reasonable live reproduction (due to the overdubbing applied during recording to fill out the sound). In many ways, it’s a pity that Cream never added an extra guitarist for live performances, or even a keyboardist to make mixing easier and expand their live repertoire.

    Track listing of the original album:
    1. Had To Cry Today
    The song is more riff-based than prior work by Cream and apparently features both Eric and Steve playing guitar simultaneously. A nice kick start to the album, although the recording sounds a little muddy and could have been shortened without much negative effect. In my opinion, this song is a bit too long and repetitive for selection as a single.
    The periodic distortion of the guitar sound has always been present.
    2. Can’t Find My Way Home
    This features a more acoustic and less “heavy” approach, with Steve turning in an absolutely riveting vocal performance. Apparently recorded live in the studio with only 3 microphones, this song certainly convinces me of the virtue of simplicity in recording. The massive cymbal accents by Ginger may be considered a little overdone by some, but probably represent what went down in the studio and, due to the minimalist recording approach, would not be able to be altered by mixing.
    3. Well All Right
    A Buddy Holly penned song ramps up the rhythmic quota again, well handled by the band with a nice wailing Winwood vocal to go with a great dance track. This, backed with Sea Of Joy, would have been my choice for a single.
    4. Presence Of The Lord
    I bet there were more than a few people surprised by the lyrics of this Clapton penned track – considering he was both lusting after a married woman (Patti Boyd-Harrison) and addicted to heroin at the time. It’s a pity Eric didn’t do the vocals here, not to say that Steve didn’t do a superlative job, but it would have been nice to hear Eric sing his own song. The wah-wah-ed guitar solo sounds like a jet taking off with afterburners on – it’s absolutely incendiary.
    5. Sea Of Joy
    Another Steve Winwood penned track, and in my opinion, the absolute highlight of the album. I find the central acoustic part (Eric on acoustic guitar, Rick on bass and 2 duelling violins and Ginger playing with restraint and nicely placed tom-tom accents) mesmerising and wish it were at least twice as long. The video of their live Hyde Park concert replicates exactly what I felt about the ambience of the performance – relaxing on a warm summer afternoon. Stevie sings as though his soul depends on it – wailing as he appears to be wandering out the studio door.This fades nicely into the final track on the album…….
    6. Do What You Like
    Ginger’s lengthy closing album track is condemned by nearly all. However, it’s well past time to reconsider this one. The song itself is basically structured, like a Cream ditty – song, solos, song. The song is actually rather melodic (it would have made a tasty single, if edited), the solos are great and the whole thing is the most clearly recorded track on the album. The Dada-esque coda of this lengthy song adds a nice touch of absurdity to the heartfelt lyrics (which are at least less obtuse than some of the Cream lyrics – She Walks Like A Bearded Rainbow indeed!). The long solos have enough of the pyrotechnics of Cream to satisfy their more ardent fans.

    The sound quality has varied with different releases:
    1. On vinyl, U.K. Polydor 583059, the original UK release in 1969, is bright, clear and dynamic, while U.S. Atco SD 33-304 (either -A or –B suffix – the record is the same) has a muddier treble. Both UK and US album covers included lyrics. A large number of the Polydor U.K. (or later on RSO U.K.) vinyl copies had Side 1 pressed markedly off centre, leading to wow (see below) that becomes more obvious towards the end of that side.
    2. On CD, the first 1986 (?) Polydor release (Polygram 825094-2, with matrix # 01) had 2 supposed Blind Faith tracks appended – Exchange And Mart and Spending All My Days – which were in fact left over tracks from an aborted Rick Grech solo album. It is unknown if any Blind Faith members, apart from Rick Grech, appear on those tracks, but it doesn’t sound like they do.
    3. The second Polydor CD version (also Polygram 825094-2, with matrix # 02) – re-mastered by Dennis Drake in 1988 (?) - deletes the 2 Rick Grech solo tracks, but improved the sound quality slightly. The CD insert now uses the cover of Atco SD 33-304B as the outside and SD 33-304A as the inside. No lyrics are included, and the album cover reproductions in the booklet and rear tray are quite low resolution.
    4. Mobile Fidelity then released a gold Ultradisc (UDCD 507) version of this album in 1988 and it still remains the gold audio standard – much like the UK original in being modelled more after the Polydor vinyl sound than the Atco – it’s bright, clear and dynamic and it is the only CD version to include the lyrics, even if the cover reproduction (of the naked girl) is pint-sized. Considering the cover photo, this actually may be a bonus. Beware with A/B comparisons, as it is “cut” at a far lower average volume than the other releases, while its extremes of volume are greater (i.e. less compression has been applied and greater dynamic range has been retained). The remedy is to turn it up. In Steve Hoffman’s opinion, this one sounds closest to the master tape (he has heard it) of all the released editions.
    5. The Polydor Deluxe 2 CD version, released in 2001 and now, sadly, out of print, adds some rather tasty bonus tracks and jams from the album sessions – the bonus tracks are rather nice, but none of the jams are essential in my opinion. The sound quality is slightly duller, louder and less dynamic than the Mobile Fidelity but it still sounds rather nice overall. The graphics of the U.K album are reproduced in high resolution (this may not necessarily be a good thing) and the extra notes are very interesting and comprehensive. The sound is closer to Atco vinyl than Polydor, but it is certainly clearer than the Atco. No lyrics are included, but an extensive essay on the recording sessions and history of the band, as well as many photos more than make up for it. The same mastering was used in the non-deluxe, 2001 single CD release, also on Polydor.
    6. The Japanese SHM-CD releases present the album exactly as it was released in the UK in
    in miniature. The sound isn't quite as precise as the MFSL.

    Verdict: On CD, while the Mobile Fidelity is a clear winner for the best sound and the lyric sheet, the Deluxe Edition isn’t very far behind and is required for the extra tracks, the jams (if you need them) and the very interesting new essay and photos. On vinyl, go for the Polydor gatefold edition, but watch out for copies pressed off centre on side 1 only – watch side 1 of the record revolve on the turntable before purchase - as this can lead to a slow varying of the speed of the recorded sound (called “wow”).
     
    Last edited: May 20, 2015
  6. S. P. Honeybunch

    S. P. Honeybunch Presidente de Kokomo, Endless Mikelovemoney

    The first time that I heard the cymbal crashes on "Can't Find My Way Home", I found them loud, as well. Nowadays, I find them charming and "rock 'n roll".
     
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  7. GodShifter

    GodShifter Forum Member

    Location:
    Dallas, TX, USA
    I never have liked the Blind Faith album as much as some have. A few of the songs are good, but, overall, the vibe and the material doesn't speak to me.

    I saw Steve Winwood play with Clapton at one of Eric's Crossroads festivals and Steve was good on guitar. He's a better musician, overall, than Clapton. In fact, I'd put him up there with Jack Bruce in terms if being a virtuoso. Clapton always attached himself to talents better than himself because he lacked the songwriting talent. He's not a great writer.

    As far as the Cream reunion, watching that on video, it seems both Bruce and Baker are in deference to Eric. I think they realized Eric made it happen and, without him, it would have never materialized obviously. Clapton didn't need it, but the other guys did; especially, Baker financially.
     
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  8. reb

    reb Money Beats Soul

    Location:
    Long Island
    It just occurred to me to wonder how Clapton accepted another guitar player in the band. Did he get along with Winwood?
     
  9. reb

    reb Money Beats Soul

    Location:
    Long Island
    I would pass on the mfsl if you have the shm.
     
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  10. John Buchanan

    John Buchanan I'm just a headphone kind of fellow. Stax Sigma

    The following is a story cribbed from the Blind Faith website, IIRC.

    In response to a previous post about Blind Faith, a friend expressed interest in the genesis of the infamous 1969 album cover, how it all came about.

    Below is a rather long excerpt from an even longer note about the creation of the Blind Faith cover by Bob Seidemann, the photographer who came up with the concept and shot the model holding the “spaceship.” It’s interesting to observe that the name of the photograph was Blind Faith and that was then taken by Eric Clapton as the name of the band. Also the model was actually 11 years old at the time, Mariora Goschen. Seidemann mentions this is the first time the name of the band was not on the album cover. That’s not exactly correct. The first Stones album in England had no name on the cover and the second Traffic album also has no name. There were probably others.
    If you think the cover was an alarming image, check out this cover to the band’s tour program with a nude covered by her long hair in all the vital places blind-folded and on a crucifix.
    Another interesting tidbit is that the poster commissioned for the three Clapton-Winwood Madison Square Garden concerts in 2008 shows the spaceship, which has been likened to a hood ornament of either a 1953 Oldsmobile or 1956 Chevrolet.
    The relevant portions of Seidemann’s note about the actual circumstances and how it all came about follow.

    BLIND FAITH, A STAB AT IMMORTALITY
    by BOB SEIDEMANN

    Detroit was burning. The police were rioting in Chicago. Watts was being eaten by its inhabitants. One enormous cultural icon after another was biting the dust, ground to a pulpy mass before the eyes of the children of the radiant box, Lenny Bruce, Malcolm X, John Kennedy, Martin Luther King, Robert Kennedy, and on and on.

    There would be more, many more. Numberless units of our best and brightest. A generation of bourgeois white kids would fry their brains on the griddle of the cold war.

    It was new car time. But they were junk so fast! Doctors smoked Camels. Father knew best, mother knew her place in the electric kitchen, and the bomb would make electricity too cheap to meter. Jack Kerouac was off the road now. Alan Ginsberg had made his run through the Negro streets in search of an angry fix. The man was in a gray flannel suit. If you didn't fit in, the man would get you. Ask Lenny.

    It was better living through chemistry. Pain was history. Why feel it? Your doctor would prescribe a jar of Valium, mother's little helper. The whole country was losing weight on Dexedrine by the handful. Jackson Pollock had drowned himself in splattered paint and booze. The bastard couldn't paint anyway. It was all plastic can't you see? Doesn't anyone see?

    To a kid from New York, San Francisco was Oz. A fairy tale city of Victorian wood. Ken Kesey was a government intelligence experiment gone wrong. He would invent the acid test and fail it himself. With what was left of his mind he took the Dead on a bus ride through a crack in reality and into history. Many would join the dance at the Dog and the Fillmore. A dance of longing, a dance of hope, a dance of love, a futile dance of naive believers. God it was good. God it was brief.

    It was nineteen sixty eight. Last year was the summer of love. You could stand on Haight Street and see the soldiers coming. They came in bright new uniforms, their faces scrubbed and young. They came to see what Time magazine was talking about. They would be shipping out in the morning, and the girls were beautiful. Oh the beautiful girls.

    Nam was on. Nam was on with a vengeance. The soldiers would not come home the same. None of us would be the same. We were all soldiers. They would fight in Nam. We would fight at home, at home on the mushy battlefield of our minds. The casualty rate was about the same.

    The geeks came too. The lonely ones, the hungry ones, the ones without a prayer. They were in search of their own salvation, in search of love. They heard it was free. They walked and drove and clawed their way to the street called Haight. When they arrived they stood with the soldiers and gaped at themselves. It was not what they imagined. A mind was a terrible thing to waste, and their minds got wasted.

    I was "being" on the scene because it was happening. It was ground zero of the Cultural Revolution. How I managed it was by producing a handful of photographs for a small poster company I was a partner in. The company was founded by a raving poet with a hundred dollars and a picture of the face of Christ, supposedly an impression on the vale of Mary Magdalene. His name is Louis Rapoport, today he is night editor of the Jerusalem Post. It was our first poster and it was a hit. My work consisted at the beginning of pictures of Janis Joplin and the Grateful Dead. They were impressionistic and successful. Then I began making more far out images depicting my sense of the time, culminating with a rendition of Michelangelo's Pieta.

    Mercy master, spare me the Judeo-Christian symbolism. Americans carry those symbols on their backs like a hump and the hump burns like a fiery brand. It was a portrait of the end of the scene. It was a picture of the end of love, of death, and it worked. Buddha where are you? Carry me to the endless, unremitting, unthinkable, unnamable. I would fly there myself but my wings are weak.

    Detroit was burning. The police were rioting in Chicago, cultural icons were dropping like flies, the love generation had been kicked to death by CBS, NBC, Life, Look and Newsweek and I wanted out. I called Eric Clapton in London to ask if he would put me up for while. He did. I stayed at his flat in Chelsea with a wild crowd of ravers. The party had been going on for some time when I arrived. Other residences of the never-ending, day-for-night, multi-colored fling were Martin Sharp, a graphic artist and poet with an uncanny resemblance to Peter O'Toole, and the wildest of ravers, Philippe Mora a young film maker who looked like a cheery Peter Lorre and their handsome girl friends. I bunked on a ledge under a skylight in the living room. All of the London scene came through. It was wild and wooly.

    A year passed and I had my own room in a basement flat in the same part of town with another bunch of ravers. The phone rang. It was Robert Stigwood's office, Clapton's manager. Cream was over and Eric was putting a new band together. The fellow on the phone asked if I would make a cover for the new unnamed group. This was big time. It seems as though the western world had for lack of a more substantial icon, settled on the rock and roll star as the golden calf of the moment. The record cover had become the place to be seen as an artist.

    I had sold my cameras in San Francisco after the Pieta poster because it scared me so much, vowing never to pick up a camera again. The picture gave me the heebee jeebees and the willies all at the same time. If you pinned it to the wall, the wall would smoke. It was a picture of death alright. If I was going take up a camera again to make a cover for Eric's new band it would have be the antidote to the Pieta image, a picture of life.

    It was nineteen sixty nine and man was landing on the moon. Our species was making its first steps into limitless space and I had a shot at immortality. That's what every artist hopes to achieve, a stab at greatness, to make something that will last for a little while. To scratch an image on a wall and hope the wall outlives him. The lights were on, the curtain was going up, and I was coming down. Down from San Francisco. Down from the height of blinding insight. Down from the top of the mountain. Down from that lofty battlefield. Down from Dr. Strangelove and 2001. The pop world was awaiting the new pop idols, and I had been asked to create their emblem.

    Technology and innocence crashed through the tatters of my mind. Only a thread of an idea, something I couldn't see, something out there just beyond my vision, an impulse rippling through the interstellar plasma. I stumbled through the streets of London for weeks, bumping into things, gibbering like a mad man. I could not get my hands on the image until out of the mist a concept began to emerge. To symbolize the achievement of human creativity and its expression through technology a space ship was the material object. To carry this new spore into the universe, innocence would be the ideal bearer, a young girl, a girl as young as Shakespeare's Juliet. The space ship would be the fruit of the tree of knowledge and the girl, the fruit of the tree of life.

    The space ship could be made by Mick Milligan, a jeweler at the Royal College or Art. The girl was another matter. If she were too old it would be cheesecake, too young and it would be nothing. The beginning of the transition from girl to woman, that is what I was after. That temporal point, that singular flare of radiant innocence. Where is that girl?

    I was riding the London Tube on the way to Stigwood's office to expose Clapton's management to this revelation when the tube doors opened and she stepped into the car. She was wearing a school uniform, plaid skirt, blue blazer, white socks and ball point pen drawings on her hands. It was as though the air began to crackle with an electrostatic charge. She was buoyant and fresh as the morning air.

    I must have looked like something out of Dickens. Somewhere between Fagan, Quasimodo, Albert Einstein and John the Baptist. The car was full of passengers. I approached her and said that I would like her to pose for a record cover for Eric Clapton's new band. Everyone in the car tensed up.

    She said, do I have to take off my clothes? My answer was yes, I gave her my card and begged her to call. I would have to ask her parent's consent if she agreed. When I got to Stigwood's office I called the flat and said that if this girl called not to let her off the phone without getting her phone number. When I returned she had called and left her number.

    Stanley Mouse, my close friend and one of the five originators of psychedelic art in San Francisco, was holed up at the flat. He helped me make a layout and we headed out to meet with the girl's parents.

    It was a Mayfair address. This is a swank part of town, class in the English sense of the word. The parents were charming and worldly with a bohemian air. He was large and robust, she was demure. They knew the poet Alan Ginsberg, owned a tenth century manor house outside of London and were distantly related to two royal families, one English, the other German. The odds against this circumstance were astronomical and unsurprising.

    Mouse and I made our presentation, I told my story, the parents agreed. The girl on the tube train would not be the one, she was shy, she had just past the point of complete innocence and could not pose. Her younger sister had been saying the whole time, "Oh Mommy, Mommy, I want to do it, I want to do it". She was glorious sunshine. Botticelli's angel, the picture of innocence, a face which in a brief time could launch a thousand space ships.

    We asked her what her fee should be for modeling, she said a young horse. I called the image 'Blind Faith' and Clapton made that the name of his band. When the cover was shown in the trades it hit the market like a runaway train, causing a storm of controversy. At one point the record company considered not releasing the cover at all. It was Eric Clapton who fought for it. If this was not to be the cover, there would be no record. It was Eric who elected to not print the name of the band on the cover. This had never been done before. The name was printed on the wrapper, when the wrapper came off, so did the type.

    This was an image created out of ferment and storm, out of revolution and chaos. It was an image in the mind of one who strove for that moment of glory, that blinding flash of singular inspiration. To etch an image on a stone in our cultural wall with the hope that that wall will last. To say with his heart and his eyes, at a time when it mattered, this is what I see and this is what I feel. It was created out of hope and a wish for a new beginning, innocence propelled by BLIND FAITH. ©Bob Seidemann

    "The Archetypal supergroup was Blind Faith formed by Eric Clapton in 1969 out of the death throws of Cream. The band consisted of Eric Clapton, Ginger Baker, Ric Grech and Steve Winwood. Unfortunately most supergroups were highly unstable due to the temperaments of their members. Blind Faith was no exception. The group recorded only one album, but the cover by Bob Seidemann became as celebrated as the band. It featured the head and torso of a naked pubescent girl and was promptly banned in America. Its unequivocal subject matter and its photographic surrealism would be extremely influential during the '70s."

    Quote from the book "Album, style and image in sleeve design" by Nick de Ville
     
    Last edited: May 20, 2015
  11. John Buchanan

    John Buchanan I'm just a headphone kind of fellow. Stax Sigma

    The following was courtesy of a kind and extremely knowledgeable ex-SHF member.

    BLIND FAITH MULTITRACKS

    DATE STUDIO REEL TITLE FILE NUMBER NOTES

    2-18-69 MORGAN HOW'S YOUR MOTHER HOW'S YOUR FATHER 91170

    2-18-69 MORGAN HOW'S YOUR MOTHER HOW'S YOUR FATHER 91171

    2-18-69 MORGAN HOW'S YOUR MOTHER HOW'S YOUR FATHER 98598



    2-20-69 MORGAN WELL ALRIGHT 98599

    2-20-69 MORGAN WELL ALRIGHT 91172

    2-20-69 MORGAN LORD PROTECTOR 91173

    2-20-69 MORGAN LORD PROTECTOR 91174 master

    2-20-69 MORGAN IN THE PRESENCE OF THE LORD 91174

    2-20-69 MORGAN WELL ALRIGHT 91174



    2-28-69 MORGAN WELL ALRIGHT 91175 master

    2-28-69 MORGAN HEY JOE 98600



    3-02-69 MORGAN INSTRUMENTALS 91176

    3-02-69 MORGAN INSTRUMENTAL S – “ CHANGE OF ADDRESS” 98597

    3-02-69 MORGAN INSTRUMENTAL S 98601

    3-02-69 MORGAN ONE OF US MUST KNOW (SOONER OR LATER) 98601

    3-02-69 MORGAN KEY TO THE HIGHWAY 98602

    3-02-69 MORGAN ONE OF US MUST KNOW (SOONER OR LATER) 98602



    5-27-69 OLYMPIC UNKNOWN 91176

    5-27-69 OLYMPIC I CAN' T FIND MY WAY HOME electric version 91177 master

    5-27-69 OLYMPIC I CAN' T FIND MY WAY HOME electric version 91178

    5-27-69 OLYMPIC I CAN' T FIND MY WAY HOME electric version 91179



    5-28-69 OLYMPIC SEA OF JOY 91180 master

    5-28-69 OLYMPIC SEA OF JOY 91181



    5-30-69 OLYMPIC TIME WINDS 91182

    5-30-69 OLYMPIC TIME WINDS 91183

    5-30-69 OLYMPIC TIME WINDS 91184

    5-30-69 OLYMPIC TIME WINDS 91185



    6-05-69 OLYMPIC HAD TO CRY TODAY 91186

    6-05-69 OLYMPIC HAD TO CRY TODAY 91187

    6-05-69 OLYMPIC HAD TO CRY TODAY 91188

    6-05-69 OLYMPIC HAD TO CRY TODAY 91189BLIND FAITH MULTI-TRACKS


    DATE STUDIO REEL TITLE FILE NUMBER NOTES



    6-23-69 OLYMPIC SOMETHING ELSE BLUES 91190

    6-23-69 OLYMPIC BLUES 91191

    6-23-69 OLYMPIC SOMETHING ELSE 91191

    6-23-69 OLYMPIC ANOTHER THING 91191

    6-23-69 OLYMPIC ANOTHER THING 91192

    6-23-69 OLYMPIC YET ANOTHER THING 91192

    6-23-69 OLYMPIC MORE 91192

    6-23-69 OLYMPIC I HAD TO CRY TODAY 91192

    6-23-69 OLYMPIC I HAD TO CRY TODAY 91193

    6-23-69 OLYMPIC I HAD TO CRY TODAY 91194

    6-23-69 OLYMPIC I HAD TO CRY TODAY 91195

    6-23-69 OLYMPIC DO WHAT YOU LIKE 91196

    6-23-69 OLYMPIC DO WHAT YOU LIKE 91197

    6-23-69 OLYMPIC DO WHAT YOU LIKE 91198



    6-24-69 OLYMPIC DO WHAT YOU LIKE 91199

    6-24-69 OLYMPIC DO WHAT YOU LIKE 91200 master

    6-24-69 OLYMPIC I HAD TO CRY TODAY 91201

    6-24-69 OLYMPIC I HAD TO CRY TODAY 91202

    6-24-69 OLYMPIC SLEEPING IN THE GROUND 91202

    6-24-69 OLYMPIC I HAD TO CRY TODAY 91203 master

    6-24-69 OLYMPIC I HAD TO CRY TODAY 91204

    6-24-69 OLYMPIC OH HAPPY DAY 91205

    6-24-69 OLYMPIC BLUES 91205

    6-24-69 OLYMPIC SLEEPING IN THE GROUND 91205



    6-25-69 MORGAN ACOUSTIC JAM 91209

    6-25-69 MORGAN SLEEPING IN THE GROUND 91209

    6-25-69 MORGAN SLEEPING IN THE GROUND 91210

    6-25-69 MORGAN SLEEPING IN THE GROUND 91211 master

    6-25-69 MORGAN SLEEPING IN THE GROUND 91212



    6-28-69 OLYMPIC I CAN'T FIND MY WAY HOME acoustic version 91206

    6-28-69 OLYMPIC I CAN'T FIND MY WAY HOME acoustic version 91207 master

    6-28-69 OLYMPIC I CAN'T FIND MY WAY HOME acoustic version 91208

    BLIND FAITH: THE BLIND FAITH SESSIONS

    30th ANNIVERSARY EDITION







    1 HAD TO CRY TODAY 8.49

    2 CAN'T FIND MY WAY HOME 3.17

    3 WELL ALL RIGHT 4.28

    4 PRESENCE OF THE LORD 4.56

    5 SEA OF JOY 5.22

    6 DO WHAT YOU LIKE 15.20





    THE BONUS MATERIAL (to be mixed):



    1 CAN'T FIND MY WAY HOME electric version 6.00

    2 SLEEPING IN THE GROUND version 1 4.00

    3 SLEEPING IN THE GROUND version 2 4.00

    4 ACOUSTIC JAM 15.00

    5 CHANGE OF ADDRESS instrumental jam 15.00

    6 TIMEWINDS 4.00 work in progress

    7 HEY JOE work in progress

    8 SAD EYED LADY OF THE LOWLANDS work in progress

    9 VARIOUS INSTRUMENTALS 15.00 / 15.00 / 15.00
     
  12. John Buchanan

    John Buchanan I'm just a headphone kind of fellow. Stax Sigma

    I disagree. The MoFi is great. The Deluxe edition isn't half bad either (the same main album mastering as the current US CD). I thought the Platinum SHM-CD was OK, but nothing outstanding.
     
  13. rednoise

    rednoise Senior Member

    Location:
    Boston
    I think the main impetus behind Blind Faith was because Clapton and Winwood were friendly and wanted to work together. And they did those Madison Square Garden shows a few years ago and seemed to get along famously.

    Since the Cream days Clapton has often (usually?) had a second guitarist in the band - Duane Allman, George Terry, Albert Lee, Mark Knopfler, Doyle Bramhall, Andy Fairweather Low, Derek Trucks, and lots more
     
    GodShifter and reb like this.
  14. S. P. Honeybunch

    S. P. Honeybunch Presidente de Kokomo, Endless Mikelovemoney

    Let me just say that "Do What You Like" is too short as it is.
     
    John Buchanan likes this.
  15. Rose River Bear

    Rose River Bear Senior Member

    I am going to see if I can bag the MOFI for a reasonable price.
     
  16. reb

    reb Money Beats Soul

    Location:
    Long Island

    The mfsl is a good sounding disc, that I can agree with. However, the shm sounds more dynamic and realistic to my ears. The cymbal in CFMWH sounds like a cymbal- not an aerosol can releasing air.
     
  17. John Fell

    John Fell Forum Survivor

    Location:
    Undisclosed
    I have the Steve Winwood box. I don't have the software or knowledge to rip the DVD.
     
    Rose River Bear likes this.
  18. Rose River Bear

    Rose River Bear Senior Member

    From what I have read, that was the main reason Blind Faith happened in the first place.
     
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  19. Rose River Bear

    Rose River Bear Senior Member

    I am pretty sure Eric used a 1962 Telecaster Custom with a Stratocaster neck for all of the songs on Blind Faith. This was somewhat of a departure for him and signaled his change to mostly Fender guitars.
     
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  20. jwoverho

    jwoverho Licensed Drug Dealer

    Location:
    Mobile, AL USA
    Jimmy Miller most assuredly improved Ginger's drum sound. Not surprising given that Miller was a drummer himself. DWYL gets a lot of flack for being filler and a way to pad out a group that was recording without much material. I like it- all members get a chance in the spotlight, and Ginger gets to let loose with a solo that is recorded well enough to let you hear all that's going on when he's playing.

    The LP is a fine showcase for Steve in particular: Great vocals, expert keyboards, and searing guitar. I wonder how many people thought that Eric was double tracking the lead guitars on Had To Cry Today? Aside from the brilliant lead work on Presence Of The Lord, Eric is somewhat subdued on the album, although to me, it's the last of his Cream-style lead work.

    Time has definitely been kind to Blind Faith. The reputation of the album has only improved over the years.
     
  21. Rose River Bear

    Rose River Bear Senior Member

    I always thought it was just Eric double tracking. I thought the riff was played by Winwood. I was not aware that it is both of them in parts of the soloing.
     
  22. John Buchanan

    John Buchanan I'm just a headphone kind of fellow. Stax Sigma

    You won't regret it, RRB.
     
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