Kronomyth 1.0: TREAM TEAM. For years, I saw this album as something of a disappointment. It sounded like Led Zeppelin with a timid folk singer. In truth, Blind Faith sounds a lot like Cream and Traffic, with one caveat: if these songs had been recorded by Cream or Traffic (in its Barleycorn incarnation), they would have sounded better. I like this album but have always felt it was an overrated asterisk. The opening “Had To Cry Today” lays it on the line; Winwood wrote it, but Jack Bruce should be singing it. Conversely, “Can’t Find My Way Home” would have worked better on Barleycorn with Chris Wood (though Baker does an admirable job of playing the drums on a song that doesn’t require them). The main pleasure I get from this record is hearing Eric Clapton and Steve Winwood play on music that matters. “Presence of the Lord,” “Sea of Joy,” “Had To Cry Today” and “Can’t Find My Way Home” belong with the best songs of Winwood and Clapton. Of course, Clapton fans will find as much (or more) to get excited about in Derek & The Dominoes. Blind Faith has been reissued about a billion times, usually with the controversial model cover, honored with a Mobile Fidelity remaster, expanded with a couple of post-session recordings (“Exchange and Mart,” “Spending All My Days”) and given a double-disc Deluxe Edition treatment that includes an electric version of “Can’t Find My Way Home,” two versions of Sam Myers’ “Sleeping In The Ground” and a bunch of instrumental jams (most of them recorded before Grech joined) that aren’t likely to increase your faith one iota. Given the dearth of classic Cream and Traffic recordings, you can’t turn a blind eye to Blind Faith, but I’d leave the Deluxe Edition to the deluded and settle on one of the single-disc remasters.
Kronomyth 1.0: BAKER’S DOZEN. “During this set we’re going to do a few very, very strange numbers.” So begins one of the more interesting chapters in the storied career of Ginger Baker. At the end of 1969, with no future in sight for Blind Faith following Eric Clapton’s departure, Baker conscripted Steve Winwood and Rick Grech for his next project, a 10-piece jam band featuring Denny Laine, Graham Bond and Chris Wood. The group rehearsed new material plus some of Baker’s bits (“Toad,” “Do What You Like”) and mounted a brief tour, including a sold-out concert at the Royal Albert Hall. That show became the basis for Ginger Baker’s Air Force, a weighty and unwieldy double album with a vertically challenged cover and only eight songs, more than half of which clocked in at over 10 minutes. Surprisingly (or perhaps not, given the state of Creamania), the record entered the US and UK Top 40 and even generated a single in Laine’s “Man of Constant Sorrow.” In many ways, Ginger Baker’s Air Force is the quintessential expression of Baker’s muse, mixing rock, jazz and African music in a combustible live setting that covers its sins with showmanship. Given how much Baker was able to achieve in a trio setting, a ten-piece band might seem like overkill. And, of course, it is. That’s the whole idea, really. Baker wanted to play the sh*t out of these songs, and he does. Listening to these versions of “Toad” and “Do What You Like,” Baker’s excessive epics make perfect sense. They were designed as full sonic immersion experiences to be heard long, loud and live. Creation is a messy process, and Ginger Baker’s Air Force is a mess, yes, but also mesmerizing. Far more fun than any of Traffic’s live albums, at any rate.