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█▓▓█ ▒ PROUDLY PRESENTS: ▀▀▀▀▀ █ ▀▀ ▄▄▄█▀▀▀▀▀▀▀ ▒ █▓▓█
█▓▓█ ▓ ▀▀▀▀▀▀ ▓ █▓▓█
██▓█ █ > Blind Faith - Blind Faith █ █▓██
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██▓█ █ Artist...[ Blind Faith █ █▓██
████ █ Title....[ Blind Faith █ ████
▀██ █ Genre....[ Rock █ ██▀
█ █ Year.....[ 2007 █ █
█ █ Encoder..[ LAME3.97 (-V2 --vbr-new) █ █
█ █ Bitrate..[ VBRkbps █ █
█ █ Quality..[ Joint-Stereo █ █
▄██ █ kHz......[ 44.1kHz █ ██▄
█░█ █ Source...[ CDDA █ █░█
█▒█ █ Date.....[ Nov-18-2007 █ █▒█
█▓█ █ Type.....[ Album █ █▓█
█▒█ █ Size.....[ 185,6 MB █ █▒█
█▓█ █ Lable....[ Polydor █ █▓█
█▓█ █ Cat.Nr...[ n/a █ █▓█
███ █ URL......[ n/a █ ███
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█░██ █ Nr. ARTIST/TRACK. Time. █ ██░█
█░░█ █ --------------------------------------------------------------- █ █░░█
█░▒█ █ cd1 █ █▒░█
█░▒█ █ █ █▒░█
█░▒█ █ 01 had to cry today 08:49 █ █▒░█
█░▒█ █ 02 can't find my way home 03:16 █ █▒░█
█░▒█ █ 03 well all right 04:27 █ █▒░█
█░▒█ █ 04 presence of the lord 04:51 █ █▒░█
█░▒█ █ 05 sea of joy 05:22 █ █▒░█
█░▒█ █ 06 do what you like 15:23 █ █▒░█
█░▒█ █ 07 sleeping in the ground 02:52 █ █▒░█
█░▒█ █ 08 can't find my way home (electric version) 05:43 █ █▒░█
█░▒█ █ 09 acoustic jam 15:54 █ █▒░█
█░▒█ █ 10 time winds 03:18 █ █▒░█
█░▒█ █ 11 sleeping in the ground (slow blues version) 04:45 █ █▒░█
█░▒█ █ █ █▒░█
█░▒█ █ cd2 █ █▒░█
█░▒█ █ █ █▒░█
█░▒█ █ 01 jam no. 1 (very long & good jam) 14:03 █ █▒░█
█░▒█ █ 02 jam no. 2 (slow jam #1) 15:09 █ █▒░█
█░▒█ █ 03 jam no. 3 (change of address jam) 12:09 █ █▒░█
█░▒█ █ 04 jam no. 4 (slow jam #2) 16:06 █ █▒░█
█▓▓█ █ ----- █ █▓▓█
██▓█ █ TOTAL: 132:07 min▓██
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█░▒█ █ █ █▒░█
█░▓█ █ Blind Faith was either one of the great successes of the late █ █▓░█
█░▓█ █ '60s, a culmination of the decade's efforts by three legendary █ █▓░█
█░▓█ █ musicians -- or it was a disaster of monumental proportions, █ █▓░█
█░▓█ █ and a symbol of everything that had gone wrong with the █ █▓░█
█░▓█ █ business of rock at the close of the decade. In actual fact, █ █▓░█
█░▓█ █ Blind Faith was probably both. By any ordinary reckoning, the █ █▓░█
█░▓█ █ quartet compiled an enviable record. They generated some great █ █▓░█
█░▓█ █ songs, two of them ("Sea of Joy," "Presence of the Lord") still █ █▓░█
█░▓█ █ regarded as classics 30-plus years later; they sold hundreds of █ █▓░█
█░▓█ █ thousands of concert tickets and perhaps a million more albums █ █▓░█
█░▓█ █ at the time; and they were so powerful a force in the music █ █▓░█
█░▓█ █ industry that they were indirectly responsible for helping █ █▓░█
█░▓█ █ facilitate the merger of two major record companies that █ █▓░█
█░▓█ █ evolved into Time Warner, before they'd released a note of █ █▓░█
█░▓█ █ music on record. And they did it all in under seven months █ █▓░█
█░▓█ █ together. █ █▓░█
█░▓█ █ Blind Faith's beginnings dated from 1968 and the breakup of █ █▓░█
█░▓█ █ Cream. That band had sold millions of records and eventually █ █▓░█
█░▓█ █ achieved a status akin to that of the Beatles or the Rolling █ █▓░█
█░▓█ █ Stones. Cream's internal structure was as stressful as it was █ █▓░█
█░▓█ █ musically potent, however, as a result of the genuine personal █ █▓░█
█░▓█ █ dislike between bassist/singer Jack Bruce and drummer Ginger █ █▓░█
█░▓█ █ Baker, which occasionally overwhelmed the respect they had for █ █▓░█
█░▓█ █ each other as musicians, leaving guitarist/singer Eric Clapton █ █▓░█
█░▓█ █ to serve as mediator. After two years of service as a referee, █ █▓░█
█░▓█ █ spent all the while in an unremitting spotlight, the public █ █▓░█
█░▓█ █ seemingly hanging on every note he played, Clapton was only too █ █▓░█
█░▓█ █ happy to leave that situation behind. █ █▓░█
█░▓█ █ █ █▓░█
█░▓█ █ The initial spark for Blind Faith came from Clapton and Steve █ █▓░█
█░▓█ █ Winwood, whose band Traffic had split up in January of 1969, █ █▓░█
█░▓█ █ amid acrimonious disputes over songwriting and direction. █ █▓░█
█░▓█ █ Winwood at age 20 was some three years younger than Clapton, █ █▓░█
█░▓█ █ and had emerged as a rock star at 17 as a member of the Spencer █ █▓░█
█░▓█ █ Davis Group, spending three years as the lead singer on a █ █▓░█
█░▓█ █ string of enviable R&B-based hits. His concerns were musical -- █ █▓░█
█░▓█ █ he wanted to work with the best musicians, and wanted to █ █▓░█
█░▓█ █ experiment with jazz, which led him to leave the Spencer Davis █ █▓░█
█░▓█ █ Group and form Traffic, which proved riven by egos nearly as █ █▓░█
█░▓█ █ strong as the members' musical impulses. The January 1969 █ █▓░█
█░▓█ █ breakup would be the first of several temporary splits in the █ █▓░█
█░▓█ █ band's lineup. █ █▓░█
█░▓█ █ █ █▓░█
█░▓█ █ The two musicians had long admired and respected each other -- █ █▓░█
█░▓█ █ they shared an enthusiasm for and dedication to the blues, and █ █▓░█
█░▓█ █ complemented each other in the sense that Clapton's work was █ █▓░█
█░▓█ █ more oriented toward Mississippi Delta blues and its urban █ █▓░█
█░▓█ █ descendants, while Winwood came out of more of an R&B sound and █ █▓░█
█░▓█ █ had the voice to make that work, and both were interested in █ █▓░█
█░▓█ █ experimenting in a group situation without any pressure. It had █ █▓░█
█░▓█ █ even occurred to Clapton during the months of Cream's █ █▓░█
█░▓█ █ disintegration that the addition of a fourth member on █ █▓░█
█░▓█ █ keyboards might have stabilized the band, in terms of both its █ █▓░█
█░▓█ █ music and its internal dynamics. █ █▓░█
█░▓█ █ █ █▓░█
█░▓█ █ As it turned out, nothing could have saved Cream, but he looked █ █▓░█
█░▓█ █ up Winwood anyway after the band's demise, in late December of █ █▓░█
█░▓█ █ 1968, and the two found that they genuinely liked working █ █▓░█
█░▓█ █ together. The notion of forming a band took shape as an █ █▓░█
█░▓█ █ eventual goal during jams between the two that lasted for █ █▓░█
█░▓█ █ hours. At one point, Clapton even considered forming another █ █▓░█
█░▓█ █ trio, between himself and Winwood and a third member as █ █▓░█
█░▓█ █ drummer. These ideas took a sharp, new, more immediate turn █ █▓░█
█░▓█ █ when Ginger Baker turned up to sit in with them in January of █ █▓░█
█░▓█ █ 1969. The results were impressive to all concerned, and the █ █▓░█
█░▓█ █ drummer was eager to be let into the group they were planning. █ █▓░█
█░▓█ █ █ █▓░█
█░▓█ █ Clapton found himself in a personal bind, having promised Baker █ █▓░█
█░▓█ █ on Cream's demise that they would work together on their next █ █▓░█
█░▓█ █ project, but he was not looking forward to reuniting with him █ █▓░█
█░▓█ █ just nine weeks after the old group's final show, with all of █ █▓░█
█░▓█ █ the expectations that their linkup would engender from █ █▓░█
█░▓█ █ outsiders. Apart from his resentment at being the buffer █ █▓░█
█░▓█ █ between Baker and Bruce, Clapton had felt straightjacketed in █ █▓░█
█░▓█ █ Cream, required by the demands of fans and, by extension, the █ █▓░█
█░▓█ █ record company, to write, play, and sing blues-based rock in a █ █▓░█
█░▓█ █ certain way, and he'd also felt trapped in the band's █ █▓░█
█░▓█ █ experimental departures from blues. Winwood, who failed to █ █▓░█
█░▓█ █ appreciate the dangers that Clapton saw or the seriousness of █ █▓░█
█░▓█ █ the guitarist's resistance, finally persuaded him, largely on █ █▓░█
█░▓█ █ the basis of the fact that Baker's presence only strengthened █ █▓░█
█░▓█ █ them musically, and that they would be hard put upon to find █ █▓░█
█░▓█ █ anyone his equal. █ █▓░█
█░▓█ █ █ █▓░█
█░▓█ █ They began working out songs early in 1969, and in February and █ █▓░█
█░▓█ █ March the trio was in London at Morgan Studios, preparing the █ █▓░█
█░▓█ █ beginnings of basic tracks for an album, which began seriously █ █▓░█
█░▓█ █ taking shape as songs at Olympic Studios in April and May under █ █▓░█
█░▓█ █ the direction of producer Jimmy Miller. The music community was █ █▓░█
█░▓█ █ already aware of the linkup, despite Clapton's claim that he █ █▓░█
█░▓█ █ was cutting an album of his own on which Winwood would play. █ █▓░█
█░▓█ █ The rock press wasn't buying any of it, knowing that Baker was █ █▓░█
█░▓█ █ involved as well, and then the promoters and record companies █ █▓░█
█░▓█ █ got involved, pushing those concerned for an album and a tour. █ █▓░█
█░▓█ █ █ █▓░█
█░▓█ █ What's more, they were offering more money than ever, for what █ █▓░█
█░▓█ █ seemed, from a business standpoint, a very good reason. █ █▓░█
█░▓█ █ Beginning with the Disraeli Gears album in 1967 and running █ █▓░█
█░▓█ █ through Wheels of Fire in late 1968, Cream had been virtually a █ █▓░█
█░▓█ █ money machine for its record labels, music publishers, and █ █▓░█
█░▓█ █ concert promoters alike. Their breakup had been a blow to the █ █▓░█
█░▓█ █ music business akin to the death of a top performer; it was █ █▓░█
█░▓█ █ hard for their record labels (Atlantic in America and Polydor █ █▓░█
█░▓█ █ in Europe), or the promoters prepared to book their tours, to █ █▓░█
█░▓█ █ envision who or what could replace them on the ledger books. █ █▓░█
█░▓█ █ (It was true that Atlantic had at least one other major █ █▓░█
█░▓█ █ blues-rock iron in the fire at the time, in the guise of a new █ █▓░█
█░▓█ █ band called Led Zeppelin, but in early 1969 no one yet had an █ █▓░█
█░▓█ █ inkling of precisely how big that quartet was going to become). █ █▓░█
█░▓█ █ Thus, the idea, coming along just three months later, of Eric █ █▓░█
█░▓█ █ Clapton reuniting with Ginger Baker and performing with Steve █ █▓░█
█░▓█ █ Winwood, himself a major star in England, was like a █ █▓░█
█░▓█ █ resurrection. And given a new bite at the apple, the record █ █▓░█
█░▓█ █ labels were salivating as they opened their checkbooks to write █ █▓░█
█░▓█ █ out big advances, and every concert promoter who could tried to █ █▓░█
█░▓█ █ get in on the money to be made, offering huge sums for the █ █▓░█
█░▓█ █ chance to profit from a tour by such a band. █ █▓░█
█░▓█ █ █ █▓░█
█░▓█ █ It was all impossible to resist. In May, the final version of █ █▓░█
█░▓█ █ the band came together with the addition of Rick Grech, a █ █▓░█
█░▓█ █ talented musician but hardly a star, on bass. A member of the █ █▓░█
█░▓█ █ band Family (which he abandoned in the middle of their U.S. █ █▓░█
█░▓█ █ tour), Grech took the bassist's spot in the new group in █ █▓░█
█░▓█ █ preparation for going out on the road. By then the group was █ █▓░█
█░▓█ █ known as Blind Faith, a slyly cynical reference that reflected █ █▓░█
█░▓█ █ Clapton's outlook on the new group. His doubts might've been █ █▓░█
█░▓█ █ taken more seriously if anyone had stopped to dwell on the fact █ █▓░█
█░▓█ █ that they'd hardly had time to work out any songs beyond those █ █▓░█
█░▓█ █ that were going onto the album -- at least, none that were not █ █▓░█
█░▓█ █ associated with other bands. █ █▓░█
█░▓█ █ █ █▓░█
█░▓█ █ Tours were booked, first of northern Europe and then America, █ █▓░█
█░▓█ █ with millions of dollars promised for the latter, contracts █ █▓░█
█░▓█ █ signed, and advances paid. The band made its debut at a concert █ █▓░█
█░▓█ █ in London's Hyde Park on June 7, 1969, in front of 100,000 fans █ █▓░█
█░▓█ █ who'd been primed by weeks of press reports heralding Blind █ █▓░█
█░▓█ █ Faith as "super Cream" and its tour as an event akin to the █ █▓░█
█░▓█ █ Second Coming. █ █▓░█
█░▓█ █ █ █▓░█
█░▓█ █ From that first show, there was trouble over the split between █ █▓░█
█░▓█ █ the adulation accorded the band and Clapton's misgivings over █ █▓░█
█░▓█ █ the quality of the group's work. A perfectionist by nature, he █ █▓░█
█░▓█ █ reportedly left the stage at Hyde Park shaken over the ragged █ █▓░█
█░▓█ █ quality of the show they'd given, while 100,000 people roared █ █▓░█
█░▓█ █ with approval over their performance. He could already see the █ █▓░█
█░▓█ █ same pattern that had made his stay with Cream utterly █ █▓░█
█░▓█ █ enervating as a musical experience re-emerging with Blind Faith █ █▓░█
█░▓█ █ -- the fans could cheer all they wanted, but he had █ █▓░█
█░▓█ █ musicianship to care about and worry over, and it was a lousy █ █▓░█
█░▓█ █ show. The tour had already been booked, however, and there was █ █▓░█
█░▓█ █ more involved than Clapton's musical sensibilities to consider. █ █▓░█
█░▓█ █ And, in a sense, maybe the promoters knew more than Clapton did █ █▓░█
█░▓█ █ -- it turned out that all the quartet had to do was show up to █ █▓░█
█░▓█ █ please the crowds that they found. █ █▓░█
█░▓█ █ █ █▓░█
█░▓█ █ Unbeknownst to Clapton as he pondered going out on the road █ █▓░█
█░▓█ █ with an unprepared, under-rehearsed band -- and it would have █ █▓░█
█░▓█ █ boggled his mind had he known -- on the other side of the █ █▓░█
█░▓█ █ Atlantic, the hype surrounding Blind Faith had already affected █ █▓░█
█░▓█ █ a much bigger part of the record industry than any aspect of █ █▓░█
█░▓█ █ the group's impending tour ever would. In early 1969, █ █▓░█
█░▓█ █ Warner-Seven Arts, previously known as the Kinney Corporation █ █▓░█
█░▓█ █ (a company that made millions in the parking garage business), █ █▓░█
█░▓█ █ was in the process of acquiring record companies. Under the █ █▓░█
█░▓█ █ guidance of their president, Steve Ross, they'd already bought █ █▓░█
█░▓█ █ the Warner Bros. studios, which included Warner-Reprise █ █▓░█
█░▓█ █ Records, and had arranged to purchase Atlantic Records late in █ █▓░█
█░▓█ █ 1968. █ █▓░█
█░▓█ █ █ █▓░█
█░▓█ █ Ross knew, however, that Atlantic was worth acquiring only if █ █▓░█
█░▓█ █ its president, founder, and chief guiding personality, Ahmet █ █▓░█
█░▓█ █ Ertegun, stayed with the company -- but Ertegun, a true music █ █▓░█
█░▓█ █ enthusiast as well as a superb businessman, wasn't convinced █ █▓░█
█░▓█ █ that he wanted to work for a corporate owner. He'd founded █ █▓░█
█░▓█ █ Atlantic with his brother and a partner, and liked being his █ █▓░█
█░▓█ █ own boss and calling the musical shots as he'd seen them, █ █▓░█
█░▓█ █ rather than reporting to anyone else. █ █▓░█
█░▓█ █ █ █▓░█
█░▓█ █ Ross saw his investment in jeopardy and scheduled a meeting █ █▓░█
█░▓█ █ with Ertegun to try convincing the man to stay on. The problem █ █▓░█
█░▓█ █ for Ross was that Atlantic was practically a part of Ertegun, █ █▓░█
█░▓█ █ and Ertegun was almost as much an artist as a businessman, all █ █▓░█
█░▓█ █ of which was part of the secret of his success in holding █ █▓░█
█░▓█ █ together a team of creative production and engineering geniuses █ █▓░█
█░▓█ █ like Jerry Wexler and Tom Dowd, not to mention the stable of █ █▓░█
█░▓█ █ artists they worked with. █ █▓░█
█░▓█ █ █ █▓░█
█░▓█ █ A few nights before the meeting, he'd been at home when his █ █▓░█
█░▓█ █ teenage son passed through with a friend, who'd heard that Ross █ █▓░█
█░▓█ █ was in the process of buying Atlantic Records. The friend had █ █▓░█
█░▓█ █ started telling Ross about how hot Atlantic Records looked to █ █▓░█
█░▓█ █ be, and about the breakup of Cream; he enthused over Clapton's █ █▓░█
█░▓█ █ hookup with Winwood and Baker, and the notion being floated in █ █▓░█
█░▓█ █ the press of the Blind Faith tour and album, the latter to be █ █▓░█
█░▓█ █ released by Atlantic, and how every rock listener in America █ █▓░█
█░▓█ █ was just waiting to grab up that album and pay to see the █ █▓░█
█░▓█ █ group.s █ █▓░█
█░▓█ █ █ █▓░█
█░▓█ █ Ross, who was of an age that made him part of Vaughn Monroe's █ █▓░█
█░▓█ █ or Patti Page's audience, hadn't a clue what the teenager was █ █▓░█
█░▓█ █ talking about, and knew nothing about Cream, Clapton, or Blind █ █▓░█
█░▓█ █ Faith. As he later recounted it, however, when he met with █ █▓░█
█░▓█ █ Ertegun, the matter of Blind Faith came up in the conversation, █ █▓░█
█░▓█ █ as Ertegun was trying to explain what Atlantic was involved in █ █▓░█
█░▓█ █ musically. Ross saw his opening and tried his best to run with █ █▓░█
█░▓█ █ it, desperately attempting to recall, as he stood there █ █▓░█
█░▓█ █ talking, everything that his son's friend had told him about █ █▓░█
█░▓█ █ Cream, Clapton, Baker, and Winwood, even though he knew nothing █ █▓░█
█░▓█ █ of the music involved. Ertegun, who was at least impressed with █ █▓░█
█░▓█ █ Ross' attempt to communicate with him about music, agreed to █ █▓░█
█░▓█ █ remain with the new management of Atlantic, which prospered in █ █▓░█
█░▓█ █ the 1970s and 1980s under his guidance even more than it had in █ █▓░█
█░▓█ █ the 1950s and 1960s. Thus marked the beginning of what soon █ █▓░█
█░▓█ █ became Warner-Elektra-Atlantic. █ █▓░█
█░▓█ █ █ █▓░█
█░▓█ █ The brief Blind Faith tour of northern Europe in June of 1969 █ █▓░█
█░▓█ █ went well. These were out-of-the-spotlight events in small █ █▓░█
█░▓█ █ clubs, before serious audiences that were there to listen to █ █▓░█
█░▓█ █ music -- northern Europe had (and has) a long tradition for █ █▓░█
█░▓█ █ offering this kind of audience, which allowed bluesmen of █ █▓░█
█░▓█ █ lesser stature than Clapton et al. to earn decent livings █ █▓░█
█░▓█ █ playing in that part of the world. █ █▓░█
█░▓█ █ █ █▓░█
█░▓█ █ From there, however, they moved on to the United States, making █ █▓░█
█░▓█ █ their debut at Madison Square Garden on July 12 in front of █ █▓░█
█░▓█ █ more than 20,000 people. A riot developed when fans charged the █ █▓░█
█░▓█ █ stage, only to be repulsed by the police; in the half-hour █ █▓░█
█░▓█ █ melee that ensued, Ginger Baker was clubbed on the head by a █ █▓░█
█░▓█ █ policeman who thought he was an interloper, and Winwood's piano █ █▓░█
█░▓█ █ was destroyed. The environment and that sort of passion placed █ █▓░█
█░▓█ █ the bandmembers in a ridiculous situation -- in truth, they █ █▓░█
█░▓█ █ didn't sound that good and they knew it. The nature of sound █ █▓░█
█░▓█ █ systems in 1969 destroyed whatever panache they might've █ █▓░█
█░▓█ █ brought to their performance and they were under-rehearsed; yet █ █▓░█
█░▓█ █ audiences roared, demanded more music, and rioted at their █ █▓░█
█░▓█ █ shows.s █ █▓░█
█░▓█ █ █ █▓░█
█░▓█ █ It was that way along the entire tour, seven weeks across the █ █▓░█
█░▓█ █ United States and Canada ending in Hawaii, marred by █ █▓░█
█░▓█ █ particularly angry confrontations between fans and police in █ █▓░█
█░▓█ █ Los Angeles. Even as they made their way across the country, █ █▓░█
█░▓█ █ the band was questioned about why Clapton seemed to be placing █ █▓░█
█░▓█ █ himself on the periphery and giving center stage to Winwood, █ █▓░█
█░▓█ █ who was far less well known in America at that time. The band's █ █▓░█
█░▓█ █ repertoire also seemed very light, the new material -- even █ █▓░█
█░▓█ █ allowing for the inevitable Ginger Baker drum solo on "Do What █ █▓░█
█░▓█ █ You Like" -- amounting to barely an hour's worth of music. The █ █▓░█
█░▓█ █ way the band had been marketed, the requests for performances █ █▓░█
█░▓█ █ of earlier hits directed at each of the star members, █ █▓░█
█░▓█ █ especially Clapton and Baker's work with Cream, were █ █▓░█
█░▓█ █ inevitable, and the group obliged them. █ █▓░█
█░▓█ █ █ █▓░█
█░▓█ █ Clapton was now trapped in a kind of "mega-Cream" situation, █ █▓░█
█░▓█ █ only worse -- there hadn't been any riots at the trio's shows █ █▓░█
█░▓█ █ -- and seemed as though he'd rather have been somewhere else. █ █▓░█
█░▓█ █ To him, it must have seemed as though he'd sold his soul to the █ █▓░█
█░▓█ █ Devil; there was no backing out on the tour, just enduring it, █ █▓░█
█░▓█ █ and hoping that when the smoke cleared the monetary reward █ █▓░█
█░▓█ █ would mitigate the miseries he'd suffered. Where the music they █ █▓░█
█░▓█ █ were playing should have been the highlight, it was a chore and █ █▓░█
█░▓█ █ an obligation. He did find a haven in music along the tour, but █ █▓░█
█░▓█ █ not Blind Faith's -- one of the opening acts was a country- and █ █▓░█
█░▓█ █ blues-based rock act called Delaney & Bonnie, who had a fun, █ █▓░█
█░▓█ █ freewheeling approach to performing and a surprisingly soulful █ █▓░█
█░▓█ █ sound. He began spending more time hanging out with them than █ █▓░█
█░▓█ █ with the members of Blind Faith, listening to what they were █ █▓░█
█░▓█ █ doing and enjoying it, and comparing notes on the blues with █ █▓░█
█░▓█ █ Delaney Bramlett. █ █▓░█
█░▓█ █ █ █▓░█
█░▓█ █ Blind Faith's tour ended on August 24, 1969. By that time, the █ █▓░█
█░▓█ █ self-titled album -- which ran into controversy over its cover, █ █▓░█
█░▓█ █ of a topless pre-pubescent girl, and was repackaged in America █ █▓░█
█░▓█ █ with a photo of the group -- had been out for almost a month, █ █▓░█
█░▓█ █ and had already sold more than half a million copies in America █ █▓░█
█░▓█ █ alone, hitting number one on the charts in England and America. █ █▓░█
█░▓█ █ The money was rolling in to all concerned even as they realized █ █▓░█
█░▓█ █ that the album showcased one of the fundamental flaws in the █ █▓░█
█░▓█ █ band's conception. There was very good music on Blind Faith, █ █▓░█
█░▓█ █ but there wasn't a lot of it -- barely 40 minutes' worth, which █ █▓░█
█░▓█ █ was hardly a body of music worthy of a international-class act. █ █▓░█
█░▓█ █ It was a good album, but those six songs didn't constitute a █ █▓░█
█░▓█ █ repertoire, much less a defined sound. █ █▓░█
█░▓█ █ █ █▓░█
█░▓█ █ In a more logical sequence of events, the group would've spent █ █▓░█
█░▓█ █ more weeks rehearsing, and played some more small gigs in █ █▓░█
█░▓█ █ England or northern Europe, perfecting its sound and working █ █▓░█
█░▓█ █ out material. They would've had time to become a group, with █ █▓░█
█░▓█ █ the debut album issued in the midst of that, and then prepared █ █▓░█
█░▓█ █ a second LP, recorded and ready to go when their international █ █▓░█
█░▓█ █ bookings began, shows for which they would've had at least a █ █▓░█
█░▓█ █ dozen songs that they could claim as their own. Instead, the █ █▓░█
█░▓█ █ logic collapsed like a row of dominoes falling: Baker joining, █ █▓░█
█░▓█ █ which got the press excited about a reconstituted Cream, which █ █▓░█
█░▓█ █ raised the stakes and the pressure for an immediate tour and an █ █▓░█
█░▓█ █ even more immediate album. In the end, Blind Faith was like a █ █▓░█
█░▓█ █ baby removed too soon from the womb and asked to grow and █ █▓░█
█░▓█ █ thrive. █ █▓░█
█░▓█ █ █ █▓░█
█░▓█ █ The group returned to England amid alternate rumors of a U.K. █ █▓░█
█░▓█ █ tour or a breakup. By October, what was already a forgone █ █▓░█
█░▓█ █ conclusion to the members became official -- there would be no █ █▓░█
█░▓█ █ second Blind Faith album, not from the studio or even a live █ █▓░█
█░▓█ █ album (though a couple of live tracks surfaced on the 1995 █ █▓░█
█░▓█ █ Steve Winwood retrospective set The Finer Things), nor any █ █▓░█
█░▓█ █ release of the film they'd made of the Hyde Park show. █ █▓░█
█░▓█ █ █ █▓░█
█░▓█ █ Blind Faith ultimately proved too little and too much all at █ █▓░█
█░▓█ █ once. The band had left its members a bit shell-shocked, █ █▓░█
█░▓█ █ Clapton most of all, but even he had lots of money to show for █ █▓░█
█░▓█ █ it (and more coming in, the Blind Faith tour and album helping █ █▓░█
█░▓█ █ stimulate sales of Cream's old albums as well). He retreated to █ █▓░█
█░▓█ █ the safety of Delaney & Bonnie, where he began playing some of █ █▓░█
█░▓█ █ the best blues of his entire career; no longer in a leadership █ █▓░█
█░▓█ █ position, or expected to step into the spotlight at every turn, █ █▓░█
█░▓█ █ he got his wish for anonymity on tour with the group from █ █▓░█
█░▓█ █ December of 1969 until early 1970, in the course of which he █ █▓░█
█░▓█ █ also met the sidemen -- Carl Radle, Jim Gordon, and Bobby █ █▓░█
█░▓█ █ Whitlock -- who would finally give him the kind of safe, █ █▓░█
█░▓█ █ anonymous showcase for his work that he'd hoped Blind Faith █ █▓░█
█░▓█ █ would be, in Derek & the Dominoes, who did exactly what he'd █ █▓░█
█░▓█ █ hoped Blind Faith would do, play small clubs very quietly and █ █▓░█
█░▓█ █ work out their music out of the spotlight. █ █▓░█
█░▓█ █ █ █▓░█
█░▓█ █ Ginger Baker, however, found the Blind Faith experience to be █ █▓░█
█░▓█ █ no worse than a mixed blessing. There'd been little new musical █ █▓░█
█░▓█ █ discovery, but the money had been very good, and it had proved █ █▓░█
█░▓█ █ that audiences would turn out for an offshoot of Cream. █ █▓░█
█░▓█ █ Additionally, he'd liked working with Winwood and Grech, and █ █▓░█
█░▓█ █ decided to try keeping them together. This led to the █ █▓░█
█░▓█ █ formation, in late November of 1969, of Ginger Baker's Air █ █▓░█
█░▓█ █ Force, a big-band ensemble whose sound embraced rock, jazz, █ █▓░█
█░▓█ █ R&B, folk, African music, and blues. Winwood and Grech would █ █▓░█
█░▓█ █ only remain with that group long enough to play at a pair of █ █▓░█
█░▓█ █ shows debuting the band in England during January of 1970. It █ █▓░█
█░▓█ █ was understood that, at the behest of Chris Blackwell, the head █ █▓░█
█░▓█ █ of Island Records (to which Winwood was signed), Winwood was to █ █▓░█
█░▓█ █ begin work on a projected solo album and was taking Rick Grech █ █▓░█
█░▓█ █ with him, into what would become the Traffic reunion album John █ █▓░█
█░▓█ █ Barleycorn Must Die. █ █▓░█
█░▓█ █ █ █▓░█
█░▓█ █ Meanwhile, the memory of Blind Faith lingered with the group's █ █▓░█
█░▓█ █ sole album, which became a perennial favorite in Clapton's, █ █▓░█
█░▓█ █ Winwood's, and Baker's catalogs. Clapton and Winwood later came █ █▓░█
█░▓█ █ to appreciate the record. For all of their musical merits, █ █▓░█
█░▓█ █ which were considerable, Blind Faith's short lifespan made the █ █▓░█
█░▓█ █ band virtually a symbol of the tail end of the 1960s and what █ █▓░█
█░▓█ █ those years were about: too much too soon in that overheated █ █▓░█
█░▓█ █ cultural, psychic, and business environment, even for the █ █▓░█
█░▓█ █ prodigious talents and personalities involved, resulting in a █ █▓░█
█░▓█ █ quick burnout. █ █▓░█
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█░░█ █ - USZ is looking for: █ █░░█
█░░█ █ █ █░░█
█░░█ █ > Experienced rippers and suppliers for Promo / Retail. █ █░░█
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█░░█ █ Think you can supply anything useful? Find US! █ █░░█
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█▓▒█ █ - Important Notice ! █ █▓▒█
█▒▓█ █ █ █▒▓█
█▓▓█ █ This release was released for your trial ONLY! █ █▓▒█
█▓▓█ █ If you like it, go and BUY IT! We did. █ █▓▓█
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