One of Our Favorite Engineers
Excellent sound on both sides — big and bold with plenty of energy and deep punchy bass. And the vinyl is relatively quiet to boot.
Sick of buying one harsh, thin, distorted, murky LP after another in a vain attempt to find a copy that reminds you of why you LOVED this record so much when it came out back in 1969?
(Assuming you’re as old as I am; we had the 8 track tape that could play in the car and the house -- music was so convenient back then!)
Well look no further! This is no audiophile made-from-the-master-tape snake oil. This is the real thing. This copy is guaranteed to blow the bad memories of all those bad versions you've owned in the past right out of your memory banks. (E.G., MoFi LP and Gold CD, Simply Vinyl LP, the new Heavy Vinyl version if there is one, and anything else that comes out from here until the end of time.) Face it: It's all JUNK compared to a record like this.
Why mince words? We've played all those records (except for the bad ones that have yet to be pressed of course).
The Playback Technology Umbrella
Why does Blind Faith sound good now, after decades of problems? For the same reason that so many great records are only now revealing their true potential: advances in playback technology. Audio has finally reached the point where the magic in Blind Faith's grooves is ready to be set free. Click on the tab above to read more.
Classic Rock - Our Bread and Butter
What the best sides of this Classic Rock from 1969 album have to offer is not hard to hear:
The biggest, most immediate staging in the largest acoustic space
The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings (Uk or domestic, both can be good) offer the kind of Tubey Magic that was on the tapes in 1969
Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
Natural tonality in the midrange -- with all the keyboards, guitars and drums having the correct sound for this kind of recording
Transparency and resolution, critical to hearing into the three-dimensional studio space
Playing the record is the only way to hear all of the above, and playing the best pressings against a pile of other copies under rigorously controlled conditions is the only way to find a pressing that sounds as good as this one does.
And if all you've ever heard are modern copies or the MoFi Half-Speed, you are in for a real treat with this one.
Had to Cry Today
Can't Find My Way Home
Well All Right
Presence of the Lord
Sea of Joy
Do What You Like
Sea of Joy
Do What You Like
Blind Faith's first and last album, more than 30 years old and counting, remains one of the jewels of the Eric Clapton, Steve Winwood, and Ginger Baker catalogs, despite the crash-and-burn history of the band itself, which scarcely lasted six months. As much a follow-up to Traffic's self-titled second album as it is to Cream's final output, it merges the soulful blues of the former with the heavy riffing and outsized song lengths of the latter for a very compelling sound unique to this band.
You know the drill. Things like better cleaning techniques, top quality front end equipment, Aurios, better electricity, Hallographs and other room treatments, amazing phono stages like the EAR 324p, power cables; the list goes on and on. If you want records like Blind Faith to sound good, we don't think it can be done without bringing to bear all of these advanced technologies to the problem at hand, the problem at hand being a recording with its full share of problems and then some.
Without these improvements, why wouldn't Blind Faith sound as dull and distorted as it always has? The best pressings were made more than thirty years ago; they're no different. What has to change is how you clean and play those pressings.
The Good News
The good news is that the technologies we recommend really do work. Now Blind Faith, the record, can do what it never could before: sound so good you can find yourself totally lost in the music. The best copies, played back properly, make you oblivious to the album's sonic problems because, for the most part, they really weren't the album's problems, they were your problems. They were mostly post-groove; you just didn't know it. This is how audio works. The site is full of commentary discussing these issues. Rest assured that no matter how good you think your stereo sounds now, it can get better if you want it to, and that's good news if you're a fan of albums like Blind Faith.