Mike Bloomfield & Friends - Live At Fillmore West 1969 (2 CD)

Album: Live At Fillmore West 1969
Size: 112,5 + 113,2 MB
Time: 48:54 + 49:11
File: MP3 @ 320K/s
Released: 1996
Styles: Blues
Art: Full

CD 1:
1. Blues On The West Side (15:04)
2. It's About Time (9:47)
3. Sweet Little Angel (11:48)
4. Instrumental Thing (7:19)
5. 'That's It' (0:39)
6. Albert's Shuffle (4:15)

CD 2:
1. It Takes Time (4:10)
2. Oh Mama (3:26)
3. Love Got Me (2:38)
4. Blues On The West Side (15:30)
5. One More Mile To Go (w. Taj Mahal & Jesse Ed Davis) (11:07)
6. It's About Time (6:58)
7. Carmelita Shuffle (5:19)

Album review for the original album "Live at Bill Graham's Fillmore West" (1969): This session from early 1969 featured Nick Gravenites, Mark Naftalin, John Kahn, and Snooky Flowers (among others), with cameos from Taj Mahal and Jesse Ed Davis, but it's clear from the opening notes who the real star is. Over the years, Michael Bloomfield's titanic solos on "Blues on a Westside" have dwarfed the rest of the album in many listeners' memories, but truthfully, his playing just burns across every track. More of Bloomfield's great guitar work from these shows is on Nick Gravenites' My Labors on Columbia. /Cary Wolfson, AllMusic

CD 1 previously unissued recordings from February 8, 1969. CD 2 from the original album, recorded January/February 1969.

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Electric Flag - Old Glory: The Best Of Electric Flag

Album: Old Glory: The Best Of Electric Flag
Size: 159,9 MB
Time: 68:52
File: MP3 @ 320K/s
Released: 1995
Styles: Blues/Rock/Soul/Jazz mix
Art: Full

1. Killing Floor (4:14)
2. Groovin' Is Easy (3:08)
3. She Should Have Just (5:05)
4. Goin' Down Slow (4:46)
5. Texas (4:49)
6. Sittin' In Circles (4:17)
7. You Don't Realize (5:00)
8. Movie Music-Improvisation (3:57)
9. Another Country (8:45)
10. Easy Rider (0:52)
11. Soul Searchin' (2:59)
12. See To Your Neighbor (2:43)
13. With Time There Is Change (3:16)
14. Nothing To Do (4:20)
15. Hey Little Girl (2:38)
16. Drinkin' Wine (2:30)
17. The Night Time Is The Right Time (5:25)

A perfect single-disc anthology of a band with what seemed like unlimited potential, but in reality limited output and few quality studio recordings that accurately reflected its combined musicianship. Like its musical cousins, Blood, Sweat & Tears, Electric Flag was one of the first bands to combine rock with big-band jazz swagger. This concept and the fact that Electric Flag contained Michael Bloomfield on electric guitar was reason enough for the band to be one of the most anticipated aggregations of the era. Yet many of the recordings show off the band's limitations like a sore thumb.

A certain over-baked production and arrangement feel permeates many of the fine songs from the band's debut (A Long Time Comin', included in its entirety), such as " Groovin' Is Easy" and "She Should Have Just," rendering it somewhat top-heavy. Yet, despite these moments of excess, the band could also perform modern blues-rock like no other and, for these tracks alone, Old Glory is worth purchasing. "Texas" and "Goin' Down Slow" (an outtake from the first album sessions) combine the group's real strengths with a supple energy that is positively beguiling. Between Buddy Miles' drumming and vocals, Bloomfield's unparalleled skill on electric guitar, Barry Goldberg's keyboards, and Nick Gravenites' songwriting and vocals lay true magic.

The fact that these moments are few and far between can make the disc a bit frustrating but, when the listener gets into cuts such as the aforementioned "Texas" and "You Don't Realize," it's well worth the wait. The five songs from the post-Bloomfield version of the group are nearly disposable, but a pair of earlier, live cuts from the band's debut at the Monterey Pop Festival (with Bloomfield) save the end of the collection. Although Electric Flag was troubled, chaotic, and disorganized, Old Glory proves that the band was important and had positively sterling moments, despite its foibles. /Matthew Greenwald, AllMusic

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Mike Bloomfield - The Gospel Truth

Size: 268 MB
Time: 1:54:44
File: MP3 @ 320K/s
Released: 2021
Styles: Acoustic/Electric Blues, Blues Rock
Art: Front

CD 1:
01. Peepin' An A Moanin' Blues (2:49)
02. Papa-Mama-Rompah-Stompah (3:30)
03. Frankie And Johnny (4:13)
04. Michigan Water Blues (3:37)
05. Effinonna Rag (4:36)
06. The Gospel Truth (4:42)
07. Pleading Blues (4:21)
08. Mood Indigo (5:26)
09. You Took My Money (3:58)
10. Lights Out (1:49)
11. Junker's Blues (2:35)
12. It'll Be Me (3:03)
13. Snowblind (5:02)
14. At The Cross (4:37)
15. Hilo Waltz (4:07)
16. Guitar King (4:09)
17. My Children, My Children (I Call You) (4:32)
18. See That My Grave Is Kept Clean (4:52)
CD 2:
01. If You See My Baby (Live) ( 3:23)
02. Poor Kelly (Live) (12:58)
03. Statesboro Blues (Live) ( 4:04)
04. You Won't See Me (Live) ( 4:10)
05. I Found True Love (Live) ( 3:50)
06. Come Back Baby (Live) ( 4:11)
07. Drifting Blues (Live) (10:02)

New 2CD set - a combination of rarities, hits and previously unreleased live recordings from one of America’s first great white blues guitarists.

As one of America's first great white blues guitarists, Michael Bloomfield earned his reputation on the strength of his work in the Paul Butterfield Blues Band. His expressive, fluid solo lines and prodigious technique graced many other projects, most notably Bob Dylan's earliest electric forays. Uncomfortable with the reverential treatment afforded a guitar hero, Bloomfield tended to shy away from the spotlight after spending just a few years in it; he maintained a lower-visibility career during the '70s due to his distaste for fame and his worsening drug problems, which claimed his life in 1981. During the late '70s, Bloomfield recorded for several smaller labels (including Takoma), usually in predominantly acoustic settings.

The Gospel Truth MP3
The Gospel Truth FLAC

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Mike Bloomfield - The Root Of Blues

Size: 74.1 MB
Time: 31:26
File: MP3 @ 320K/s
Released: 1976/1994
Styles: Electric/Acoustic Blues
Art: Full

01. City Girl (4:27)
02. The Train Is Gone (2:55)
03. Hey Foreman (2:53)
04. WDIA (3:34)
05. Death Cell Rounder Blues (3:32)
06. Mama Lion (3:37)
07. Thrift Shop Rag (1:47)
08. Death In The Family (3:56)
09. Kansas City (3:08)
10. East Colorado Blues (1:33)

An instructional blues LP released by Guitar Player magazine in 1976, The Root of the Blues pays tribute to Bloomfield's influences and favorites: acoustic and electric, solo and with a band. Standout tracks include "Death in My Family," played in the style of Guitar Slim, "WDIA," a tribute to B.B. King, "City Girl," dedicated to T-Bone Walker, and an acoustic version of "Kansas City," played, in Bloomfield's words, "in a style I would call 'Travis Picking'," after Merle Travis. It seems an anomaly to use a modern style for such an old song, but the method of syncopated contrapuntal fingerpicking is well suited to the song because the key of E has so many open strings." ~Jan Mark Wolkin

The Root Of Blues MP3
The Root Of Blues FLAC

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Eddie 'Cleanhead' Vinson - Cherry Red (Feat. Mike Bloomfield)

Size: 76.1 MB
Time: 32:13
File: MP3 @ 320K/s
Released: 1967/1995
Styles: Electric Blues, West Coast Blues
Art: Full

01. Cherry Red (3:12)
02. Cadillac Blues (3:02)
03. Juice Head Baby (3:11)
04. Alimony Blues (3:33)
05. Somebody's Got To Go (3:05)
06. Flat Broke Blues (2:28)
07. Old Maid Got Married (2:40)
08. Workin' Blues (2:51)
09. Wee Baby Blues (3:04)
10. Goodnight Baby Blues (5:03)

Somehow, amidst all the CD reissues from the King Records vaults unleashed by Charly, Ace, Rhino, and King's current ownership, this versatile alto saxist has fallen through the cracks. Thus, this two-LP collection, boasting all but a handful of his jumping 1949-1952 outings for King, remains your best introduction to the Cleanheaded one's R&B output (along with the 1945-1947 sides he waxed for Mercury, which grace the seven-disc anthology Blues, Boogie, & Bop: The 1940s Mercury Sessions). ~Bill Dahl

Cherry Red (Feat. Mike Bloomfiled) MP3
Cherry Red (Feat. Mike Bloomfiled) FLAC

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Eddie 'Cleanhead' Vinson - Cherry Red

Size: 74,8 MB
Time: 32:13
File: MP3 @ 320K/s
Released: 1967
Styles: Blues
Art: Full

1. Cherry Red (3:12)
2. Cadillac Blues (3:02)
3. Juice Head Baby (3:11)
4. Alimony Blues (3:33)
5. Somebody's Got To Go (3:05)
6. Flat Broke Blues (2:28)
7. Old Maid Got Married (2:40)
8. Workin' Blues (2:51)
9. Wee Baby Blues (3:04)
10. Goodnight Baby Blues (5:03)

This was a session Eddie "Cleanhead" Vinson recorded for ABC's Bluesway label in 1967. Bob Theile was the producer and the personel includes Vinson on vocals and sax, Patti Bown (formerly of the Quincy Jones Orchestra) on keyboards, Buddy Lucas on harmonica and sax, and Mike Bloomfield (then with the Butterfield Blues Band) on guitar. The bassist and drummer are not named. All the featured names are given plenty of solo space on a setlist that consists mainly of Cleanhead's regular repetoire (the title cut, Juice Head Baby, Alimony Blues). Bloomfield plays with a clean un-distorted tone but is integral to all the songs, and Cleanhead is in especially fine voice. This is a fine addition to any fan of quality jump blues, rhythm and blues or swing oriented jazz.

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Michael Bloomfield - Don't Say That I Ain't Your Man! Essential Blues 1964-1969

Year: 1994
Bitrate: MP3@320K/s
Time: 71:00
Size: 164,4 MB
Styles: Electric blues
Scans: Full

1. I've Got You In The Palm Of My Hand (2:26)
2. Last Night (3:23)
3. Feel So Good (2:54)
4. Goin' Down Slow (3:39)
5. I Got My Mojo Working (2:39)
6. Born In Chicago (w. The Butterfield Blues Band) (3:08)
7. Work Song (w. The Butterfield Blues Band) (7:54)
8. Killing Floor (4:11)
9. Albert's Shuffle (6:54)
10. Stop (4:22)
11. Mary Ann (Live) (5:27)
12. Don't Throw Your Love On Me So Strong (Live) (11:03)
13. Don't Think About It Baby (3:34)
14. It Takes Time (Feat. Nick Gravenites) (Live) (4:07)
15. Carmelita Skiffle (Live) (5:12)

Fifteen tracks covering the pioneering blues-rock guitarist's '60s work, which was by far his best and most influential. Bloomfield worked with a bunch of bands during the decade, and the compilation flits rather hurriedly from his contributions to the Paul Butterfield Blues Band and Electric Flag, to his collaborations with Al Kooper, as well as some late-'60s solo tracks (none of his groundbreaking mid-'60s work with Dylan is here).

Collectors will be interested in the first five songs, which date from previously unreleased sessions produced by John Hammond in late 1964 and early 1965. Featuring Charlie Musselwhite on harmonica, this pre-Butterfield Blues Band outfit plays convincingly, but the material is standard-issue, and Bloomfield's vocals are thin and weak (they didn't improve much over time). As befits Bloomfield's considerable but erratic talent, this is an interesting but erratic compilation; seek out the first two Paul Butterfield albums for a more cohesive showcase of his skills. /Richie Unterberger, AllMusic

(For personnel and recording details, see artwork included.)

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Michael Bloomfield - Living In The Fast Lane

Size: 92,7 MB
Time: 39:28
File: MP3 @ 320K/s
Released: 1980/2018
Styles: Electric Blues, Blues Rock
Art: Front

01. Sammy Knows How To Party (2:19)
02. Shine On Love (4:55)
03. Roots (3:35)
04. Let Them Talk (5:09)
05. Watkin's Rag (1:46)
06. Andy's Band (4:01)
07. When I Get Home (4:27)
08. Used To It (2:50)
09. Big C Blues (3:36)
10. The Dizz Rag (3:36)
11. Maudie (Bonus Track) (3:09)

An artist's final album always sits heavily on the shelf, and even more so when that life has been cut abruptly short, becoming an unintended epitaph to what was a still flourishing career. Thus, Living in the Fast Lane has a weighty burden to bear, one that Michael Bloomfield never meant it to shoulder, yet the set does so with remarkable ease. There's a definite joie de vivre found within, partly, one presumes, a reflection of the happiness of reuniting with myriad former cohorts, among them Mark Naftalin and Bob Jones, who both played on Bloomfield's debut solo album back in 1969, and ex-Electric Flag Roger Troy. A gospel choir and an entire band provide backing vocals and a horn section, which hints at the many styles showcased within. The set kicks off with "Maudie," a classic R&B number that brilliantly highlights Naftalin's piano skills, Bloomfield's own keyboard talent, and even more spectacularly his emotive, fluid guitar style, as his leads wind round vocalist Frank Biner, almost engaging him in conversation. On the indeed ragtime-flavored "Watkin's Rag" Bloomfield plays everything flawlessly, of course, even as he attempts to outdo himself in places. That's an instrumental, while on "Big C Blues" he also picks up the mike, defiantly determined to have a good time, as his piano and slide guitar vie for attention. Bloomfield sings out his own frustration at himself on the autobiographical "Used to It," a funk-drenched self-pummeling. "Roots" is equally funky, but in a slicker Temptations style that stresses the importance of knowing where you come from. Bloomfield certainly does and is keen to highlight all the styles that so influenced him within this set. With gospel-flecked blues, country-speckled blues, lavish soul, jazzy ragtime, R&B, and on "Andy's Bad" even a touch of hip-hop, Bloomfield and company showcase blues of many shades, progenitors, and descendents. The musicianship is sensational, the vocalists superb, and Bloomfield is on fire, yet there's no struggle and strain to succeed, just a sublime atmosphere. Fans will insist he made much better sets, and they'd be right, but regardless, this album remains a magnificent achievement, one that's lost none of its power over the years. ~by Jo-Ann Greene

Living In The Fast Lane MP3
Living In The Fast Lane FLAC

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Michael Bloomfield - It's Not Killing Me

Year: 1969
Bitrate: MP3@320K/s
Time: 37:59
Size: 87,9 MB
Styles: Blues, country, rock
Scans: Full (Japanese Ed.)

1. If You See Me (3:10)
2. For Anyone You Meet (4:10)
3. Good Old Guy (3:24)
4. Far Too Many Nights (5:10)
5. It's Not Killing Me (3:19)
6. Next Time You See Me (3:00)
7. Michael's Lament (4:25)
8. Why Must My Baby (2:41)
9. The Ones I Loved Are Gone (3:10)
10. Don't Think About It, Baby (3:36)
11. Goofers (1:50)

It's a shame that Michael Bloomfield's recorded legacy is so spotty. Generally speaking, the blues guitarist's finest moments are found on the universally praised first two discs with Paul Butterfield, the Electric Flag's A Long Time Comin' album, and the sporadic glimpses of greatness on his solo records. Unfortunately, there aren't many of those on It's Not Killing Me, Bloomfield's first solo LP released under his name in 1969. The main problem with this album is its lack of a powerful vocalist who could equally tackle blues, soul, and country. Singing was not one of the legendary guitarist's strengths, and he definitely wasn't capable of carrying that load over an entire record.

Instead of focusing on Bloomfield's guitar prowess and letting him arrange the American music he obviously loved so deeply, you get the impression someone at Columbia, or maybe even Bloomfield himself, wanted to turn him into a hip frontman à la Eric Clapton. It's especially odd considering the presence of blues belter Nick Gravenites singing backup on this session, not to mention additional vocals by the Ace of Cups and Diane Tribuno. It makes about as much sense as Led Zeppelin having Jimmy Page sing lead while Robert Plant played tambourine! It's Not Killing Me is recommended for completists only. /Al Campbell, AllMusic

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Big Joe Turner - San Francisco 1977 (2 CD)

Nicknamed "Boss of the Blues", "Big" Joe Turner's musical appeal spread well beyond his Kansas City roots: he was also a highly regarded jazz singer, as well as a musical godfather to every up and coming rock 'n' roll group worldwide. He was discovered in his native Kansas City in the 1930s by impresario and record producer extraordinaire John Hammond, who brought him to New York for a concert at Carnegie Hall as well as dates at some of New York's most prestigious clubs.

Invited by Duke Ellington to appear in his 1941 revue entitled "Jump For Joy", it opened the door to perform with legendary jazz musicians such as Art Tatum, Meade Lux Lewis, Albert Ammons and others. By the 1950s, Joe had signed with Atlantic Records where he ushered in the rock 'n' roll era, performing such classics as "Shake, Rattle and Roll", "Morning, Noon and Night", "TV Mama" (which featured the slick guitar work of Elmore James), "Chains of Love" and "Honey Hush (Hi Ho Silver)" among others.

This CD, recorded March 5, 1977 at the Palms Cafe in San Francisco, embodies all of Turner's considerable talents and offers 23 tracks on 2 discs.

Personnel: Joe Turner (vocals); Mike Bloomfield (guitar); Mark Naftalin (piano); Pat Campbell (bass); Bob Scott (drums); Unknown (saxophone).

Album: San Francisco 1977
Year: 2017
Bitrate: MP3@320K/s
Time: 77:56
Size: 179,6 MB
Styles: Blues
Scans: Full

CD 1 (Set 1):
1. The Night Time Is The Right Time (7:19)
2. Flip Flop And Fly (6:15)
3. Honey Hush (Hi Ho Silver) (5:54)
4. T.V. Mama (5:14)
5. Chains Of Love (7:25)
6. Corrine, Corrina (5:42)
7. I Hear You Knocking (8:04)
8. How Long Blues (6:49)
9. Give Me An Hour In Your Garden (11:27)
10. Shoo Shoo Boogie Boo (7:21)
11. Early One Morning (6:22)

CD 2 (Set 2):
1. Everyday I Have The Blues (10:00)
2. Medley: I've Got A Pocketful Of Pencils/I Want My Baby To Write Me (13:16)
3. Ain't Gonna Be Your Lowdown Dog (3:31)
4. Stormy Monday Blues (6:31)
5. When The Sun Goes Down (3:26)
6. Morning, Noon And Night (3:22)
7. Hide And Go Seek (4:42)
8. Shake, Rattle And Roll (3:22)
9. The Things I Used To Do (9:38)
10. Chicken And The Hawk (4:49)
11. On My Way To Denver Blues (11:07)
12. Write Me A Letter (5:47)

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Mike Bloomfield - Live At McCabe's Guitar Workshop

Size: 100,2 MB
Time: 42:51
File: MP3 @ 320K/s
Released: 2017
Styles: Electric Blues, Blues Rock
Art: Front

01. Women Lovin' Each Other (4:38)
02. Don't You Lie To Me (4:04)
03. Cherry Red (3:40)
04. Hully Gully (3:56)
05. Wings Of An Angel ((Prisoner's Song) (3:51)
06. Walkin' The Floor (4:19)
07. Junko Partner (4:40)
08. Knockin' Myself Out (5:51)
09. Rx For The Blues (2:17)
10. You Must Have Jesus (5:30)

Mike Bloomfield was one of the great and unique artists of our era. Considered by millions to be America's answer to Eric Clapton, his effect on both musicians and public alike has been no less. A master guitarist, arranger and writer, Bloomfield has the honor of being responsible for turning many millions of white American teenagers and young adults to authentic black blues music over the years. Bloomfield was born in Chicago and by the time he was a teenager he was playing guitar in local rock bands. He soon became enamored with the power and originality of such bluesmen as John Lee Hooker, Muddy Waters and Lightnin' Hopkins and became highly proficient as a blues guitarist and also became one of the most in-demand session musicians in the country. In the mid-1960's Mike Joined the Paul Butterfield Blues Band, one of the most successful blues groups of the sixties. Much of the group's success was due to Bloomfield's superb guitar work, and led to his break with Paul to form his own group, The Electric Flag. The group was quickly signed by Columbia Records and achieved instant super group success. Both critics and public alike found their fresh approach to both blues and rock material electrifying, and their influence on most other musicians cannot be overstated. In spite of great critical and financial success, the group broke up because of ego problems, After the demise of the Flag, Bloomfield teamed up with Al Kooper and Steve Stills for the incredibly successful Super Session, still a staple of most record libraries. Until his death, Bloomfield continued to record both on his own and with other major artists He never lost his love of blues, and continued to be one of America's most popular blues and rock artists, and one of it's most influential, until his untimely death. This album stands as a tribute to one of our great musicians, as Mike performs a selection of original and classic rock and blues material. ~Robert Scheri

Live At McCabe's Guitar Workshop

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Mike Bloomfield - San Francisco Nights

Size: 110,9 MB
Time: 47:16
File: MP3 @ 320K/s
Released: 2018
Styles: Electric/Acoustic Blues, Blues Rock
Art: Front

01. Greatest Gifts From Heaven (3:29)
02. Lo, Thou I Am With Thee (3:41)
03. Kansas City Blues (3:42)
04. Medley Darktown Strutter's Ball, Mop Mop, Call Me A Dog (4:03)
05. I'm Glad I'm Jewish (3:09)
06. Eyesight To The Blind (4:12)
07. Uncle Bob's Barrelhouse Blues (5:41)
08. Jockey Blues (3:47)
09. Linda Lou (3:57)
10. Vamp In C (Soul Serenade) (4:09)
11. Wee Wee Hours (7:20)

Recorded live at the Old Waldorf in San Francisco on 14 April 1977 as part of Mike Bloomfield and Friends – a regular attraction at the Old Waldorf over a period of 6 months, from December 1976 through May 1977

This previously unreleased album includes the songs Greatest Gifts From Heaven, Kansas City Blues and Vamp In C

Band lineup includes rock and blues luminaries, including Barry Goldberg (piano, organ), Nick Gravenites (vocals, guitar) and Mark Naftalin (keyboard)

Recorded by legendary producer Norman Dayron (who has produced albums for Muddy Waters, Howlin' Wolf, Paul Butterfield and others)

Mike Bloomfield was one of America’s greatest artists of the ’60s—’70s; their country’s answer to Eric Clapton. A skilled guitarist, arranger and writer, Bloomfield popularized his blues heroes’ tunes to an unaware teen audience so they could hear where rock ‘n' roll’s roots originated. Many years after his death, Bloomfield still exerts a gravitational pull over anyone who heard his ground breaking blend of blues-rock guitar power and modal improvisation.

The Old Waldorf was a music venue located in San Francisco, California. The famous club was located at 444 Battery Street and was originally opened by Jeffrey Pollack in 1976 before selling it to Bill Graham who closed it in 1983. During its time, the Old Waldorf hosted some of the biggest names in the music industry, including AC/DC, Blue Öyster Cult, Iggy Pop, Rory Gallagher, Metallica, Pat Benatar, R.E.M., Spirit, Poco, U2 and Dead Kennedys’ John Cougar.

San Francisco Nights

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Michael Bloomfield - Analine/Michael Bloomfield (2in1)

Year: 1977/1978/2007
Bitrate: MP3@320K/s
Time: 76:47
Size: 177,1 MB
Styles: Acoustic and electric blues
Scans: Full

1. Peepin' An A-Moanin' Blues (2:44)
2. Mr Johnson And Mr Dunn (2:57)
3. Frankie And Johnny (4:14)
4. At The Cross (4:37)
5. Big 'C' Blues (3:53)
6. Hilo Waltz (4:07)
7. Effinonna Rag (4:35)
8. Mood Indigo (5:26)
9. Analine (5:35)
10. Guitar King (4:09)
11. Knockin' Myself Out (4:03)
12. My Children, My Children (I Call You) (4:32)
13. Women Loving Each Other (6:12)
14. Sloppy Drunk (5:59)
15. You Took My Money (4:01)
16. See That My Grave Is Kept Clean (4:53)
17. The Gospel Truth (4:42)

During the 1970s, Michael Bloomfield retreated from the spotlight and returned to the raw blues he’d first experienced as an adolescent in the clubs of Chicago’s South Side. He investigated other forms of black American folk music, its roots, and how blues lyrics always evolved to comment on the present times and troubles. He also kicked back and had some fun. Some of the results are captured on these two albums, previously released on John Fahey’s Takoma Records in 1977 and ’78. They might not shake the world like his playing with the newly-electric Dylan or barrier-busting Paul Butterfield Blues Band but, having tasted rock‘n’roll excess with the Electric Flag and mass adulation with the “Supersession” monster jams, Bloomfield set about weaving a more insidious kind of magic. He ignored commercial demands to follow his heart and soul, recording pure blues albums for small labels, while fighting drug and alcohol problems.

Even returning to his roots, Bloomfield set himself another hard-to-follow benchmark with 1976’s Grammy-nominated “If You Love These Blues, Play ‘Em As You Please”, released through Guitar Player magazine with Takoma. He came up with a gorgeous collection of intimate statements he called "Analine" after its soaring balladic highlight. Drugs and, reportedly, arthritis, might have taken some toll but the sometimes faltering picking and wracked vocals are wrenched from his deepest soul, tapping into and the spirit of the blues to create a unique atmosphere. He sometimes played all the instruments himself. His undimmed talent shines on tracks like the funereal "At The Cross", Bloomfield’s playing now a stripped-down, elegiac shadow of the clipped starbursts and string-bending barrages of earlier work. The langorous slide and mandolin tipple of "Hilo Waltz" evokes John Fahey’s 70s riverboat excursions while after-hours instrumental "Mood Indigo" is lushly intoxicating with its swooning slide and rolling bar-room piano, winding down a real lost gem in the Takoma canon.

"Michael Bloomfield" was the first album released on Takoma after Fahey sold up to Chrysalis in 1978. Bloomfield presents another shade of the blues, maybe summed up by track title, "Sloppy Drunk", but the album takes on its own ragged glory as it progresses. Recorded at his Mill Valley home and at McCabe’s Guitar Shop, the album features a variety of guests, including old Butterfield mucker Mark Naftalin. A loose, knockabout feel prevails but Bloomfield’s inherent virtuosity still manages to spark, "Women Loving Each Other" hitting a glorious spacey plateau as the slide steams in. The gospel influence which graced 1979’s sublime duets album with Woody Harris creeps in for the final pair, offering the most moving moments. Blind Lemon Jefferson’s "See That My Grave Is Kept Clean" is performed as an ethereal slide-strewn crawl, while "The Gospel Truth" is the only instrumental, boasting a classic Bloomfield solo.

Mike Bloomfield lost his battle against heroin in February 1981, when he was found dead in his car but, as this honest pair of albums demonstrate, he had already fought successfully to honour his musical conscience. /Kris Needs

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Mike Bloomfield - RX For The Blues

Year: 1993
Bitrate: MP3@320K/s
Time: 43:27
Size: 100,7 MB
Styles: Blues, R&B, ragtime
Scans: Full

1. Hully Gully (4:00)
2. Wings Of An Angel (3:54)
3. Walking The Floor (4:23)
4. Don't You Lie To Me (4:09)
5. Junko Partner (4:44)
6. Knockin' Myself Out (5:55)
7. Women Lovin' Each Other (4:42)
8. Cherry Red (3:45)
9. RX For The Blues (2:20)
10. You Must Have Jesus (5:31)

The celebrated blues guitarist Mike Bloomfield performs a variety of blues, R&B, and ragtime classics, including "Cherry Red," "Don't You Lie to Me," and "Walking the Floor Over You," on this accomplished and wide-ranging set. He's accompanied by the pianist Mark Naftalin and a skilful rhythm section, and though singing was never his strong point, his consummate guitar playing carries him through. /AllMusic

Note: Also released as "Junko Partner" (LP 1982, CD 2000 & 2003); "American Hero" (LP 1984, 1986, 1987 & 1988, CD 1998); "Knockin' Myself Out" (CD, 1995)

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Muddy Waters & Howlin' Wolf - Muddy & The Wolf

Year: 1974/1983
Bitrate: MP3@320K/s
Time: 43:00
Size: 99,3 MB
Styles: Blues, Chicago blues
Scans: Full

1. All Aboard (2:50)
2. Blow Wind Blow (3:36)
3. Can't Lose What You Ain't Never Had (3:04)
4. Walkin' Thru The Park (3:18)
5. I'm Ready (3:35)
6. Long Distance Call (6:22)
7. Rockin' Daddy (3:40)
8. What A Woman! (3:01)
9. Who's Been Talking? (3:05)
10. Red Rooster (Rehearsal) (1:28)
11. Red Rooster (3:51)
12. Highway 49 (2:47)
13. Do The Do (2:17)

Waters and Wolf do not perform together on this disc. The first half, recorded in Chicago, features Muddy backed by some of his regular '60s band members plus '60s U.S. blues-rockers Mike Bloomfield and Paul Butterfield. Wolf occupies the second half, taken from the "London Howlin' Wolf Sessions" album. He's backed by British blues-influenced rockers including Eric Clapton, Steve Winwood, and the Stones' rhythm section. Despite the booklet's photo of Muddy and Wolf together, the notoriously paranoid Wolf had always regarded Muddy as a rival.

Despite their personal differences, Waters and Wolf were linked by their undeniable status as the prime architects of Chicago blues. The thematic tie here is their interaction with the generation of players who they inspired. As Muddy retains most of his usual band, his cuts differ little from his other late-'60s recordings (which is to say that they are eminently soulful and cathartic). Wolf's cuts are marked by the rock supersession vibe, but the assembled rock royalty manage to keep their egos in check, ably providing their hero with the angular, biting attack that is his trademark sound. This isn't the place to start with either Muddy or Wolf, but it's a more-than-interesting sideline to their careers.

Personnel Muddy Waters tracks (1-6): (Muddy Waters): Muddy Waters (vocals, slide guitar); Michael Bloomfield (guitar); Paul Butterfield, Jeff Carp (harmonica); Otis Spann (piano); Donald "Duck" Dunn, Phil Upchurch (bass); Sam Lay (drums).

Personnel Howlin' Wolf tracks (7-13): Howlin' Wolf (vocals, acoustic guitar, harmonica); Eric Clapton, Hubert Sumlin (guitar); Jeffrey M. Carp (harmonica); Steve Winwood, Ian Stewart, Lafayette Leake, John Simon (piano, organ); Bill Wyman, Phil Upchurch (bass, shakers, cow bell); Charlie Watts (drums, conga, percussion).

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Michael Bloomfield - If You Love Those Blues, Play 'em As You Please

Size: 192,6 MB
Time: 70:30
File: MP3 @ 320K/s
Released: 1976
Styles: Acoustic Blues
Label: Kicking Mule
Art: Front

01. If You Love These Blues (1:08)
02. Hey, Foreman (2:52)
03. Narrative #1 (0:36)
04. WDIA (3:34)
05. Narrative #2 (0:10)
06. Death Cell Rounder Blues (3:32)
07. Narrative #3 (0:05)
08. City Girl (4:27)
09. Narrative #4 (0:19)
10. Kansas City Blues (3:08)
11. Narrative #5 (0:16)
12. Mama Lion (3:40)
13. Narrative #6 (0:10)
14. Thrift Shop Rag (1:47)
15. Narrative #7 (0:14)
16. Death In My Family (3:55)
17. East Colorado Blues (1:32)
18. Blue Ghost Blues (2:15)
19. Narrative #8 (0:25)
20. The Train Is Gone (2:55)
21. Narrative #9 (0:07)
22. The Alter Song (2:20)
23. I'll Overcome (3:49)
24. I Must See Jesus (4:35)
25. Great Dreams From Heaven (2:51)
26. Gonna Need Somebody On My Bond (4:05)
27. I Am A Pilgrim (2:30)
28. Just A Closer Walk With Thee (3:06)
29. Have Thine Own Way (2:20)
30. Farther Along (2:33)
31. Peace In The Valley (4:58)

Is it really 23 years since Mike Bloomfield shuffled off this mortal coil? On 15 February 1981, the blues guitar legend was found dead from a drugs overdose, slumped in his car in a side street in San Francisco.

During the 1960s, his guitar playing had ignited "live" performances and recordings by Bob Dylan, the Paul Butterfield Blues Band and The Electric Flag, among others. He had also provided much of the focus for the Super Session and Live Adventures projects on which he shared joint headline credit with Al Kooper.

Personal problems, and unease with the formulaic approach that success often demands, dogged many of his later recordings and diminished in many people's eyes the great contribution he had, undoubtedly, made to the electric guitar sound of the 60s.

IF YOU LOVE THESE BLUES, PLAY 'EM AS YOU PLEASE is a timely reminder of what a consummate musician he was. 22 tracks of this CD were recorded in 1976 and released originally with the same album title on Guitar Player/Takoma 3002. The remaining nine tracks come from the Norman Dayron recorded session featuring Bloomfield with guitarist Woody Harris and were originally released on Kicking Mule KM 164.

The 1976 sides were conceived by Bloomfield as a way of repaying the debt he felt he owed to his musical influences, the many black blues and white hillbilly performers from whom he had learned so much. Consequently, the musical performances range across a breadth of styles and are linked by simple narratives recited by Bloomfield himself. Rather than being something that wears thin with repetition, these link narratives are a rare opportunity to hear the man himself, talking about the music he loved best.

Recorded in a relaxed atmosphere in the dark San Francisco basement studio of David Blossom, the sessions obviously took Bloomfield back to the dark Chicago clubs that he had enjoyed so much in his youth and missed badly in the era of the stadium concert. His singing is warm and unforced and works well with his stunning guitar playing and the laid-back support from such musical friends as singer/guitarist Nick Gravenites, organist Ira Kamin, bassist Doug Kilmer, drummers Tom Donlinger and Dave Neditch plus the occasional added horns of Ron Stallings and Hart McNee.

For the session three years later with Woody Harris, the emphasis shifts from the secular to the sacred. All the tunes are gospel songs and the warm collaboration between the two guitarists is a joy. With the aid of studio overdubbing, Bloomfield plays both electric slide and acoustic guitars on the closing Peace In The Valley and both guitars, piano, organ, bass and drums on The Altar Song. Especially fine is Bloomfield's stinging, distorted electric guitar on Gonna Need Somebody On My Bond and Just A Closer Walk With Thee, both beautifully underpinned by Harris's acoustic guitar chords and picking. ~by John Crosby.

If You Love Those Blues, Play 'em As You Please

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Mike Bloomfield - Celebrating The Blues

Year: 2006
Bitrate: MP3@320K/s
Time: 81:41
Size: 187,3 MB
Styles: Blues, Chicago blues
Scans: Full

1. Women Lovin' Each Other (4:38)
2. Don't You Lie To Me (4:03)
3. Knockin' Myself Out (5:51)
4. Eyesight To The Blind (4:12)
5. Between A Hard Place And The Ground (7:00)
6. Cherry Red (4:39)
7. Uncle Bob's Barrelhouse Blues (5:37)
8. Wee Wee Hours (5:00)
9. Vamp In C (4:02)
10. Blues In B Flat (5:58)
11. Jockey Blues (3:48)
12. Junko Partner (4:41)
13. Women Lovin' Each Other (Alt. Version) (8:20)
14. Don't Lie To Me (Alt. Version) (3:26)
15. Kansas City (3:34)
16. Darktown Strutters Ball/Mop Mop/Call Me A Dog (4:00)
17. One Of These Days (2:44)

Although his lanky Chicago-style electric guitar playing helped bridge the gap between the blues and rock in the mid-'60s, Michael Bloomfield resisted the guitar god status that was thrust at him, preferring to do session work and producing to anchoring a long-lasting touring and recording band. In the late '70s (and post-Butterfield Blues Band and Electric Flag) he recorded several low-key blues albums for small labels, and Celebrating the Blues gathers some of the best of the tracks from those sessions.

True to form, Bloomfield avoids the flash stuff here, and plays the songs (most of which are Chicago blues standards) straight up, bringing in a certain unadorned elegance with his guitar lines. He also sings, which isn't a strong point, but it underscores the fact that he is doing music he loves without any thought of scoring a radio hit. High points include the bright rhythmic underpinning of "Don't Lie to Me," the near-reggae lilt of "Junko Partner," and the unassuming and ultimately graceful "Vamp in C" instrumental.

It's not startling material, by any means, and not the kind of stuff that will convert non-believers into raving Bloomfield fans, but as a glimpse of a man playing the music he loved without commercial pressure, it's as telling as anything he ever recorded. /Steve Leggett, Allmusic

Personnel: Mike Bloomfield (electric & acoustic guitars), Mark Naftalin (keyboards), Roger Troy (bass), Bob Jones (drums).

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Mike Bloomfield, Al Kooper, Steve Stills - Super Session

Year: 1968/2003
Bitrate: MP3@320K/s
Time: 77:15
Size: 177,9 MB
Styles: Electric blues, rock/blues jam
Scans: Full

1. Albert's Shuffle (6:53)
2. Stop (4:18)
3. Man's Temptation (3:24)
4. His Holy Modal Majesty (9:12)
5. Really (5:26)
6. It Takes A Lot To Laugh, It Takes A Train To Cry (3:29)
7. Season Of The Witch (11:07)
8. You Don't Love Me (4:09)
9. Harvey's Tune (2:10)
10. Albert's Shuffle (2002 Remix, Bonus) (6:58)
11. Season Of The Witch (2002 Remix, Bonus) (11:08)
12. Blues For Nothing (Outtake, Bonus) (4:15)
13. Fat Grey Cloud (Live, Bonus) (4:38)

As the Beatles' Sgt. Pepper's Lonely Hearts Club Band (1967) had done a year earlier, Super Session (1968) initially ushered in several new phases in rock & roll's concurrent transformation. In the space of months, the soundscape of rock shifted radically from short, danceable pop songs to comparatively longer works with more attention to technical and musical subtleties. Enter the unlikely all-star triumvirate of Al Kooper (piano/organ/ondioline/vocals/guitars), Mike Bloomfield (guitar), and Stephen Stills (guitar) - all of whom were concurrently "on hiatus" from their most recent engagements. Kooper had just split after masterminding the groundbreaking Child Is Father to the Man (1968) version of Blood, Sweat & Tears. Bloomfield was fresh from a stint with the likewise brass-driven Electric Flag, while Stills was late of Buffalo Springfield and still a few weeks away from a full-time commitment to David Crosby and Graham Nash. Although the trio never actually performed together, the long-player was notable for idiosyncratically featuring one side led by the team of Kooper/Bloomfield and the other by Kooper/Stills.

The band is fleshed out with the powerful rhythm section of Harvey Brooks (bass) and Eddie Hoh (drums) as well as Barry Goldberg (electric piano) on "Albert's Shuffle" and "Stop". The Chicago blues contingency of Bloomfield, Brooks, and Goldberg provide a perfect outlet for the three Kooper/Bloomfield originals - the first of which commences the project with the languid and groovy "Albert's Shuffle". The guitarist's thin tone cascades with empathetic fluidity over the propelling rhythms. Kooper's frisky organ solo alternately bops and scats along as he nudges the melody forward. The same can be said of the interpretation of "Stop", which had originally been a minor R&B hit for Howard Tate. Curtis Mayfield's "Man's Temptation" is given a soulful reading that might have worked equally well as a Blood, Sweat & Tears cover. At over nine minutes, "His Holy Modal Majesty" is a fun trippy waltz and includes one of the most extended jams on the Kooper/Bloomfield side. The track also features the hurdy-gurdy and Eastern-influenced sound of Kooper's electric ondioline, which has a slightly atonal and reedy timbre much like that of John Coltrane's tenor sax.

Because of some health issues, Bloomfield was unable to complete the recording sessions and Kooper contacted Stills. Immediately his decidedly West Coast sound - which alternated from a chiming Rickenbacker intonation to a faux pedal steel - can be heard on the upbeat version of Bob Dylan's "It Takes a Lot to Laugh, It Takes a Train to Cry". One of the album's highlights is the scintillating cover of "Season of the Witch". There is an undeniable synergy between Kooper and Stills, whose energies seems to aurally drive the other into providing some inspired interaction. Updating the blues standard "You Don't Love Me" allows Stills to sport some heavily distorted licks, which come off sounding like Jimi Hendrix. This is one of those albums that seems to get better with age and that gets the full reissue treatment every time a new audio format comes out. This is a super session indeed. /Lindsay Planer, AllMusic

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Paul Butterfield Blues Band - Got A Mind To Give Up Living: Live 1966

Year: 2016
Bitrate: MP3@320K/s
Time: 63:01
Size: 146,1 MB
Styles: Electric blues, harmonica blues
Scans: Full

1. Instrumental Intro (1:26)
2. Look Over Yonders Wall (2:08)
3. Born In Chicago (4:12)
4. Love Her With A Feeling (5:40)
5. Get Out Of My Life, Woman (3:24)
6. Never Say No (3:41)
7. One More Heartache (3:42)
8. Work Song (12:33)
9. Coming Home Baby (7:17)
10. Memory Pain (2:46)
11. I Got A Mind To Give Up Living (6:36)
12. Walking By Myself (4:17)
13. Got My Mojo Working (5:14)

The release of The Paul Butterfield Blues Band's Live 1966 is a godsend for a number of reasons, not the least of which is that it reminds, if that's indeed necessary, of what a vital influence on contemporary blues was (and is) this sextet. Yet, as documented on the heretofore unreleased Got A Mind to Give Up Living's eclectic song selection, the Butterfield blues Band was not satisfied to copy the work of their heroes, even as they covered some of their best material, such as Allen Toussaint's "Get Out of My Life Woman." The dual guitars of Bloomfield and his counterpart Elvin Bishop (who actually preceded his fretboard partner in this lineup) widened up the path Elmore James' opened with "Look Over Yonders Wall," while the choice of jazz-oriented material such as (brother of Cannonball) Nat Adderley's "Work Song" presaged not only its future studio rendition on East-West (Elektra, 1966), but later incarnations of Butter's band with a horn section, not to mention its accurate reflection of the blues-heavy jazz scene of the times.

The presence of an equally authentic tune that would go otherwise wholly unrecorded by this incarnation of the Butterfield Band, Percy Mayfield's "Memory Pain" (which Johnny Winter included on his three-lp-sided sophomore effort Second Winter (Columbia, 1969)) further distinguishes the combination of fervent scholarship and fiery, disciplined musicianship that makes Live 1966 a treasure: though it lacks the band's raga-influence stylistic masterwork "East-West," there's plenty of concise jamming here as on "Comin' Home Baby." And "Born in Chicago," composed by Butterfield's early blues companion student Nick Gravenites, is an original that speaks to and describes the world discovered and revered by members of this group and like-minded aficionados such as the author.

Including the blurry likes of the stage shot at the center of the enclosed booklet, Live 1966 is adorned with vintage photos that capture a moment in time, images of memorabilia effectively replicating the graphic design and style of the Butterfield Blues Band's early Elektra Records releases. Yet, Got A Mind to Give Up Living is much more than an academic artifact: it is instead a living, breathing testament to the power and vision of one of America's most forward-thinking contemporary musical units and its stolid leader, whose impassioned harp work challenges those around him to elevate their own playing.

Even as the thin sound quality, as recorded in Boston's Unicorn Coffee House, leaves more than a little to be desired despite its remastering, the presence of Butterfield, Bloomfield and co. is so forceful, the compulsion to ratchet up the volume to compensate is ultimately as joyful as it is irresistible.

Got A Mind To Give Up Living: Live 1966

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Michael Bloomfield - If You Love Those Blues, Play 'Em As You Please

Size: 162,7 MB
Time: 70:30
File: MP3 @ 320K/s
Released: 1976/2004
Styles: Electric/Acoustic Blues
Art: Full

01. If You Love These Blues (1:08)
02. Hey, Foreman (2:52)
03. Narrative #1 (0:36)
04. Wdia (3:34)
05. Narrative #2 (0:10)
06. Death Cell Rounder Blues (3:32)
07. Narrative #3 (0:05)
08. City Girl (4:27)
09. Narrative #4 (0:19)
10. Kansas City Blues (3:08)
11. Narrative #5 (0:16)
12. Mama Lion (3:40)
13. Narrative #6 (0:10)
14. Thrift Shop Rag (1:47)
15. Narrative #7 (0:14)
16. Death In My Family (3:55)
17. East Colorado Blues (1:32)
18. Blue Ghost Blues (2:15)
19. Narrative #8 (0:25)
20. The Train Is Gone (2:55)
21. Narrative #9 (0:07)
22. The Alter Song (2:20)
23. I'll Overcome (3:49)
24. I Must See Jesus (4:35)
25. Great Dreams From Heaven (2:51)
26. Gonna Need Somebody On My Bond (4:05)
27. I Am A Pilgrim (2:30)
28. Just A Closer Walk With Thee (3:06)
29. Have Thine Own Way (2:20)
30. Farther Along (2:33)
31. Peace In The Valley (4:58)

Is it really 23 years since Mike Bloomfield shuffled off this mortal coil? On 15 February 1981, the blues guitar legend was found dead from a drugs overdose, slumped in his car in a side street in San Francisco.

During the 1960s, his guitar playing had ignited "live" performances and recordings by Bob Dylan, the Paul Butterfield Blues Band and The Electric Flag, among others. He had also provided much of the focus for the Super Session and Live Adventures projects on which he shared joint headline credit with Al Kooper.

Personal problems, and unease with the formulaic approach that success often demands, dogged many of his later recordings and diminished in many people's eyes the great contribution he had, undoubtedly, made to the electric guitar sound of the 60s.

IF YOU LOVE THESE BLUES, PLAY 'EM AS YOU PLEASE is a timely reminder of what a consummate musician he was. 22 tracks of this CD were recorded in 1976 and released originally with the same album title on Guitar Player/Takoma 3002. The remaining nine tracks come from the Norman Dayron recorded session featuring Bloomfield with guitarist Woody Harris and were originally released on Kicking Mule KM 164.

The 1976 sides were conceived by Bloomfield as a way of repaying the debt he felt he owed to his musical influences, the many black blues and white hillbilly performers from whom he had learned so much. Consequently, the musical performances range across a breadth of styles and are linked by simple narratives recited by Bloomfield himself. Rather than being something that wears thin with repetition, these link narratives are a rare opportunity to hear the man himself, talking about the music he loved best.

Recorded in a relaxed atmosphere in the dark San Francisco basement studio of David Blossom, the sessions obviously took Bloomfield back to the dark Chicago clubs that he had enjoyed so much in his youth and missed badly in the era of the stadium concert. His singing is warm and unforced and works well with his stunning guitar playing and the laid-back support from such musical friends as singer/guitarist Nick Gravenites, organist Ira Kamin, bassist Doug Kilmer, drummers Tom Donlinger and Dave Neditch plus the occasional added horns of Ron Stallings and Hart McNee.

For the session three years later with Woody Harris, the emphasis shifts from the secular to the sacred. All the tunes are gospel songs and the warm collaboration between the two guitarists is a joy. With the aid of studio overdubbing, Bloomfield plays both electric slide and acoustic guitars on the closing Peace In The Valley and both guitars, piano, organ, bass and drums on The Altar Song. Especially fine is Bloomfield's stinging, distorted electric guitar on Gonna Need Somebody On My Bond and Just A Closer Walk With Thee, both beautifully underpinned by Harris's acoustic guitar chords and picking. ~by John Crosby

If You Love Those Blues, Play 'Em As You Please

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