Swedish metallers MEAN STREAK, founded by bassist Peter Andersson in 2008, stand for traditional, classic heavy metal that, according to the biography on the band's website , comes “straight from the heart”, which is something that generally goes down extremely well, not just over here in Europe but also in Japan. It is therefore hardly surprising that the Swedes' 2009 debut was met with a lot of interest, received good reviews in some of the leading magazines and got a fair amount of airplay, including on Bruce Dickinson's Rock Show on BBC 6. Now, eight years later, MEAN STREAK's fourth studio album called Blind Faith will be on the shelves in Europe on June 2, in Japan on May 31 and in the USA on June 16. The ingredients of MEAN STREAK's latest opus are exactly what you expect from a band dedicated to “classic metal”: driving up-tempo beats, neck-breaking mid-tempo grooves, virtuoso guitar shredding, long drawn-out epic melodies and soaring vocals.
Blind Faith was cursed at its very inception by being billed as a supergroup. This was truly a pity, because for all the classic beauty of its only recording, Blind Faith was a band that never had a legitimate opportunity to come together as a performing ensemble. Hyped to the hilt and rushed into a massive, chaotic tour, the band fell apart after its final American concerts when Eric Clapton packed it in to join Delaney & Bonnie's band. Despite the hurried and mysterious nature of the recording of the album Blind Faith, it produced two classic hits "Can't Find My Way Home" and "Presence of the Lord".
Colin Vearncombe will forever be preserved in pop aspic as the maker of 1987’s melancholy worldwide hit Wonderful Life – No 1 in Austria! – but he hasn’t stopped working, despite his not having breached the top 40 for 27 years. Blind Faith, his seventh album under the Black flag, is a marvellous little thing – a less temperamental, less self-regarding cousin to Scott Walker’s first four solo records. Like them, it’s steeped in European balladry, and filled with delicious arrangements – the swooping strings and jazzy shuffles of Womanly Panther are a delight. Vearncombe’s slightly frayed baritone is a perfect match to the music, steering it clear of pomposity, filling it with humanity, even when the regrets well up – “I am not the man you want me to be,” he sings on Not the Man, “Here comes the talking / Slamming doors you then have to throw open.” Pop stardom is a long way in the past for Vearncombe, but Blind Faith is an album by a man very much in control of his gifts.
Now, I leave the original UK edition. You can initiate a discussion of which one is best version (the first thing that stands out is the clarity, colour and sharpness of the picture on the cover).
An experiment, I posted the MOV edition, now I post this reissue of 1986 to end with the original UK edition.
My idea is to compare these pressings with the same gear and determine the differences in sound (if any).
I was apprehensive about buying the Music On Vinyl edition but after listening to it, I have been amazed at the great sound it has. It has great separation & texture of the instruments. Listen to "Sea Of Joy". The bass is strong and robust. The nylon-strings guitar sounds wonderful. Listen to "Can't Find My Way Home".
Blind Faith is the self-titled album by the English supergroup Blind Faith, released in 1969 on Polydor Records in the United Kingdom and Europe and on Atlantic Records in the United States. It topped the album charts in the UK and Canada as well as the Billboard 200, even peaking at #40 on the Billboard Soul Albums chart, an impressive feat for an English rock quartet. It has been certified platinum by the RIAA. In addition, Rolling Stone published three reviews of the album in their 6 September 1969 issue, which were written by Ed Leimbacher, Lester Bangs, and John Morthland.