Bloomfield Disko
Bloomfield Disko
Michael Bloomfield
Discography
Michael Bernard Bloomfield was born July 28, 1943, in Chicago, Illinois and was found dead in his car in San Francisco,
California on February 15, 1981.
Between these dates he made a lasting impression on the world of music. Today he is still considered one of the greatest and
most influential white guitarists from the USA.
He learned by listening to all the great black musicians that played Chicago in the 50s and early 60s - people like Howlin
Wolf, Muddy Waters, Big Joe Williams, Sleepy John Estes and many more. He was always eager to join them on stage and
made quite a name for himself. He also played with many white musicians his own age, like Barry Goldberg, Charlie Musselwhite, Nick Gravenites and whoever toured Chicago.
In the early 60s, barely 20 years old, he was the musical director of a Chicago blues club called The Fickle Pickle. Here he
hired many of the old, black blues legends, and he treated them so well that Big Joe Williams even mentions him in a song
about the club, Pick a Pickle.
In 1964 Michael Bloomfield was discovered by legendary producer John Hammond, Sr., who went to Chicago to hear and
record Bloomfield, and then invited him to New York to audition for Columbia Records. In December Bloomfield went to
NY with his band, which included Charlie Musselwhite, and recorded a string of blues numbers. Five of them later appeared
on the Essential Blues 1964-1969 CD (Columbia Legacy CK 57631, 1994) and show that Bloomfield already was a skilled
guitar player and a fine singer. The audition led to a contract as a solo artist, but nothing happened until the Elektra record
company hired him to make The Butterfield Blues Band stronger on the guitar front.
The first studio recordings with the BBB were scrapped because the producer didnt think he had caught the BBB as they
sounded live. The recordings were later released as The Lost Elektra Sessions and they show a band with Paul Butterfield
(Dec. 17, 1942 - May 4, 1987) as the main artist and Bloomfield more of a piano player than a guitarist. Then Elektra tried to
record the band live at Cafe-Au-Go-Go in New York Citys Greenwich Village, but the result was not usable. Then they
finally recorded the released session where Bloomfield is recognized as the lead guitarist.
It was a breakthrough album that showed, like never before, that white musicians could play solid, authentic blues. It made
the blues directly accessible to the larger, rock-oriented white audience. And unlike the white blues emerging in Great Britain, this was blues with an immediate link to its black originators, learned right at the feet of Muddy Waters, Magic Sam and
Willie Dixon.
Where the first BBB album broke through old barriers, the follow-up album, released in August, 1966, simply razed them to
the ground. Culminating in the title track East West, an unprecedented fusion of blues, rock, jazz and Indian modalities
conceived by Bloomfield on his first acid trip, it ushered in the whole era of extended jams that would dominate live rock
throughout the late 60s.
But working with the BBB was not a completely comfortable situation for MB, and as the pressures of their success and
constant touring escalated, Bloomfield abruptly left the group. He soon formed a new band, The Electric Flag, looking to
explore the possibilities offered by a horn section and seeking a more encompassing American music sound. Most of the
live recordings of the band sound terrible, but the studio material is simply some of the best big band blues-rock-soul music
ever recorded. Unfortunately, problems with drugs and egos became more than he could tolerate. After one soundtrack (The
Trip) and a studio album, he left.
Later that year (1968) Al Kooper, looking for a project to justify his new A&R position at Columbia, asked Bloomfield to an
impromptu studio jam. Enough material was recorded for half an album before Michael unexpectedly went home. Steve Stills
came in to fill out the rest of the album. Released as Super Session, it went to #13 on the Billboard charts, and kicked off a
wave of super-group jams. In the one 9-hour recording session were captured some of the purest licks Bloomfield ever laid
down, and to this day Super Session stands as one of the greatest blues albums ever.
For the next dozen years MB rarely settled into any structured situation, generally playing with loose assemblies of Mike
Bloomfield and Friends, a name that was used for a lot for different bands that got together to jam. Mark Naftalin, Barry
Goldberg and Nick Gravenites were frequent participants. The great singer and bass player Roger Jelly Roll Troy often was
with them, too.
Throughout the 70s Michael Bloomfield made several records in his own name. Some are great and will stand the test of
time, some are less great, but they are all interesting and there are always a couple of tracks or guitar solos that will last. In
1976 he recorded an instructional blues record for the Guitar Player magazine, one of his finest efforts. His playing on an
album like Live at Bill Grahams Fillmore West is some of the best guitar ever laid down in the grooves. He also played a
lot as a session guitarist, often with a fine result, but sometimes he is inaudible and not much more than a name on the cover.
One of his last performances was as a guest at a Bob Dylan concert at the Warfield Theatre in San Francisco on November
15, 1980. Bloomfield played like in his prime on The Grooms Still Waiting at the Altar. Unforgettable. Sadly, he passed
away under suspicious circumstances on February 15,1981, found dead in his car with traces of several drugs in his blood.
There is no doubt that he burned his candle at both ends by his way of living, and that he was a peculiar and difficult person
at times, but his influence as a musician and guitarist will last forever.
Take a look below and you will find the many records Michael Bloomfield played on and how diverse they were. If you have
any additions or corrections please let me know.
Ren Aagaard [email protected]
I dont really think it is possible to write the complete Michael Bloomfield discography, as there will always be found
another live recording, or be released another compilation, so complete in this book, means that as many as possible of his
recordings are listed. That includes: Vinyls, CDs, videos, LPs, singles, bootlegs, films everything he either played or talked
on or produced. I think all of his official released records are listed.
A few words about how to read the discography:
1. Bold CAPITAL LETTERS indicates main artist on the record
2. CAPITAL LETTERS indicates the title of a record, followed by record company and catalogue numbers.
A number to the extreme right, indicates that the record has been examined.
3. A title in quotation marks shows a song title
4. and bold titles in quotation marks indicate that Michael Bloomfield plays on it.
5. w/m = Words/Music. Any tune written or composed or arranged by Michael Bloomfield is marked w/m or w or m
6. CBS stickers = In Europe Columbia was marketed under the initials CBS, as Columbia since the turn of the century has
been a registered trademark for another gramophone company. Imported US releases with the name Columbia therefore
had to have stickers with the CBS logo pasted over the Columbia name on the covers and labels.
Ed Wards book, The Rise and Fall of an American Guitar Hero, is recommended as essential reading. It has a very fine
discography (but is long out of print). Nick Gravenites blues-letters on the internet have been useful and Mark Naftalin has
been kind to answer a few questions. Jan Mark Wolkin's Bloomfield Notes and discography on the web have been useful,
as well as his and Bill Keenoms book Michael Bloomfield If You Love These Blues an Oral History, published by
Miller Freeman in October 2000. (That book is certainly recommended reading.)
A great thank you to Jay Crouch of South Carolina for endless help getting records and information. The same goes to Jeff
Watt from California and Paul Thompson, Sleepy Hollow, Illinois for reading, correcting and adding a lot of recordings and
lately to Peggy McVickar, Ormond Beach, Florida for unearthing new great stuff and to David Dann for his great work on
Bloomfield.
Take a look at David Danns fabulous site: http://www.mikebloomfieldamericanmusic.com/
and brother Allen Bloomfields official Michael Bloomfield site: http://www.mikebloomfield.com/
Ren Aagaard
Denmark
PS: I have been working on and mostly off on this discography for about 20 years or more. I have tried to dust it off before I
uploaded it today (Feb. 17, 2014), but don't hackle me if the time has overrun some of the comments or listings. I have NOT
included the very newest boxed-set or the acetates from Paul Thompson. I will very soon.
The reason for the slow progress has been, that I wished to add scans of all the records to the disocgraphy, but never got the
time to do it. BUT I WILL!
Enjoy!
all the best
Ren
495
285
1963
245
1965
040
1973?
522
1973?
433
1998
190
*****
J. B. LENOIR SUNNYLAND SLIM & FRIENDS
1963. July. 9. Ninas Lounge, West Madison Street, Chicago recorded by Norman Dayron
Albert Luandrew Sunnyland Slim, vocal 1,3-5,7,16,17 piano 1,3-5,7,8,14-18 J.B. Lenoir, vocal 2,9,10,14,15 guitar 2-4,610,14-16 hca 6 Michael Bloomfield, guitar 4,11-13 John Lee Granderson, vocal 11-13 guitar 3,11-13 St. Louis Jimmy
Oden, hca 5
1. Harlem Cant Be Heaven (3.13)
412
*****
BIG JOE WILLIAMS
1963. Oct. 16. Recorded live in Copenhagen, Denmark
Big Joe Williams, vocals, guitar
1. Pick A Pickle
Michael Bloomfield played a lot - and even traveled - with Big Joe Williams. In 1980 he wrote an essay about it called Me
And Big Joe (reprinted lately by RE/SEARCH PUBLICATIONS at only 6$). The original is very hard to find. The essay
was first printed in the December 1980 issue of the magazine High Times, and it has original illustrations by Robert
Crumb. (Its a really weird magazine devoted to dope in any form!)
In the song Pick A Pickle Big Joe mentions Michael Bloomfield, who was in charge of the blues nights in the Chicago club
Fickle Pickle, where many of the old black singers and musicians got booked. MB treated them better than they were used
to, and Big Joe thanks him in the song. The LP was probably released the first time on Storyville around 1964.
1981
1991
1 - CD BIG JOE WILLIAMS - BLUES MASTERS VOL. 2 STORYVILLE STCD 8002 (DK)
15 tracks in all
*****
152
1978
1978?
1980
1980
1981
1987
1997. Aug.
19??
1998
142
141
132
185
*****
THE GROUP MICHAEL BLOOMFIELD
1963?
Chess recording studio, Chicago
John Hammond from Columbia once got a demo recording of a vocalist, where he liked the guitar in the background better. It
turned out to be Michael Bloomfield (probably also on vocals!). It could also have been from one of the sessions at the Chess
studios, where he backed up some of the Chess artists. Except for the Chuck Berry session from 1965 (see below) no Chess
recordings with MB have surfaced yet.
The demo John Hammond heard made him go to Chicago to listen to Michael Bloomfields band, and it ended with a recording session (see December 7, 1964) and then a recording contract for MB with Columbia (Epic) as a solo artist.
*****
1963 late or early 1964
Michael Bloomfield, vocals, piano, guitar - Mike Johnson? guitar - "Silver" Sid Warner bass - Norman Mayell, dr - Charlie
Musselwhite, hca
The Chicago session with The Group, as the band was called because they didnt have a name, was never released. They
recorded an albums worth of material. MB expected it to be released immediately, but John Hammond thought it to be just a
demo session. Later they went to New York to record a couple more demo sessions.
Sid Warner had earlier played bass behind the cowboy hero Roy Rogers.
MB later said that if The Groups album had been released, they would have beaten the Rolling Stones!
See entry for 1964. Feb. 18 and 1964. Dec. 7.
*****
MICHAEL BLOOMFIELD
1964. Jan. 28. Recorded at Norman Dayrons home in Chicago
Michael Bloomfield, vocals, guitar
1. Bullet Rag (1.23) take 1 & 2 (instrumental)
2. Kingpin (2.26)
arr. MB
3. J.P. Morgan (1.44)
arr. MB
m MB
From the bonus CD that comes with the book If You Love These Blues by Jan Mark Wolkin & Bill Keenom, published
November 2000. These tracks were also released on a promo CD that came out with a blad (Booklet Layout And Design)
with chapter 10 of the book.
The vinyl release is simply the bonus CD from the book.
2000. Nov.
1-3 - CD RARE PERFORMANCES 1964 Promo CD for the book If You Love These Blues
2000. Nov.
1-3 - CD RARE PERFORMANCES 1964 CD from the book If You Love These Blues
268
*****
MIKE BLOOMFIELD
1964
Probably recorded around the same time as above and at the same place.
Michael Bloomfield, vocals, guitar, harmonica 3 1. Lets Get Some Dope
2. Steel Guitar Rag
3. Since I Met You Baby
4. 43rd Street Blues
5. Ramblin Blues
6. Automobile Blues
Some privately recorded songs with Mike Bloomfield, Roy Ruby and Norman Dayron present and talking in between tracks.
*****
MIKE BLOOMFIELD
1964. Feb. 18.
A 10 inch, 45 rpm. acetate was offered on Ebay in 2004. The label read:
1. "GOT THE BLUES" COLUMBIA REFERENCE # JOB 90334,
date 2-18-64, UNRELEASED, (Att: John Hammond).
Probably a yet unpublished recording from the first Hammond session in Chicago? Perhaps with The Group??
*****
SLEEPY JOHN ESTES
1964 .Mar. 3. Producer Robert G. Bob Koester - Recorded in Sound Studios Inc., Chicago
Sleepy John Estes, vocals, guitar - Hammie Nixon, hca - Yank Rachell, mandolin 1,11, guitar, vocal response 1,5 - Michael
Bloomfield, guitar 3,4,11-13,15
1. Broke And Hungry (2.47) mono LP
2. Black Mattie (4.22) mono/stereo LP - CD (4.20)
3. 3.00 Morning Blues (2.46) mono/stereo LP - CD (2.43)
4. Beale Street Sugar (3.52) mono/stereo LP - CD (3.48)
5. Olie Blues (3.44) mono LP
6. So Glad Im Livin (2.35) mono/stereo LP - CD (2.33)
7. Freedom Loan (4.06) mono LP
8. The Girl I Love (3.54) mono/stereo LP (CD (3.53)
9. Electric Chair (3.33) mono LP
10. Sleepy Johns Twist (2.09) mono LP
11. Broke And Hungry (4.29) stereo LP - CD (4.25)
12. Freedom Loan (4.44) stereo LP - CD (4.42)
13. Everybody Oughta Change (3.48) CD
14. Al Rawls (3.30) CD
15. Olie Blues (4.24) stereo LP - CD (4.21)
16. Electric Chair (4.11) stereo LP - CD (4.09)
17. Sleepy Johns Twist (2.44) stereo LP - CD
On the back cover of the LP Bob Koester says: ...John Hammond recently signed him [MB] to a Columbia recording pact
and his first LP under his own name is in preparation as this is written....
Bob Koester also wrote that at the time of writing the liner notes for the LP, Sleepy John Estes and Hammie Nixon were
packing to go to the Newport Folk Festival 1964. The time of writing must have been around June or July 1964. That
indicates that the album in preparation must have been The Groups recording.
The tracks differ a lot in the timings as shown. On the CD track (3) is noted as (4.44) but its a short version like on the LPs.
MB does not play on the short mono versions of (1,7), but on the alternate takes that are the longer stereo versions (11,12).
The recordings are credited to: Sleepy John Estes: Tennessee Jug Busters.
1964
1-10 - LP BROKE AND HUNGRY DELMARK DL 608 (US) mono Green cover/blue label
428
1964
104
1964
039
19??
232
1995
073
*****
About the photographer Reaburn Flerlage (from his website):
The blues revival was just gathering steam, and Flerlage quickly became known as the man for the job on small labels like
Delmark and Testament and later for larger operations like Chess, RCA, Prestige/Bluesville and World Pacific, all the while
continuing with Asch labels Folkways, Disc and Scholastic.
Testament was run by Rays good friend Pete Welding, the downbeat editor who regularly used Flerlages prints for
magazine covers and features. They started working together on photo interviews with artists like Howlin Wolf, Muddy
Waters, John Lee Hooker and others, often including the youthful Mike Bloomfield on their expeditions. At other times just
Flerlage and Bloomfield would work together covering sessions for Rhythm and Blues, photographing and interviewing, in
addition to Wolf and Muddy, Jimmy Reed, Otis Rush and others who appeared at Peppers, Theresas, Smittys, the Trianon
and other South Side night spots.
Flerlage had begun hosting FM radio shows in the late 50s with an emphasis on folk music, and he covered all annual folk
concerts at the University of Chicago for more than a decade, in the process building a massive photo file covering virtually
every important performer in the folk circuit during that important period. He gradually shifted his focus more to blues, and
he recalls one memorable "live" appearance on his Blues International radio program, where a by-then-famous Mike
Bloomfield attacked the studio piano with such barrelhouse vigour that the station manager asked him to cease and desist,
unaware of the value of Bloomfield performing for free.
Flerlage also documented the scene at white clubs such as the Fickle Pickle, Gate of Horn, Blind Pig and Plugged Nickel,
but the pictures he values the most are those he has taken in black clubs such as Sylvios, Peppers and Theresas or in
ballrooms like the Trianon, where he began specializing in capturing the active involvement of the audiences.
*****
EDDIE BOYD
1964. May. 16. Recorded at Sutherland Lounge, Chicago by Olle Helander & engineer Hans Westman for Swedish Radio
Eddie Boyd, piano, vocal - Michael Bloomfield, guitar
1. Five Long Years (2.48)
2. Her Picture in the Frame (4.09)
3. Early Grave (3.54)
4. The Big Question (3.07)
5. Look Over Yonder Wall (2.47) (Nothing But Trouble)
In the Swedish radio transmission (Oct. 7, 1964) the host Olle Helander introduced Michael Bloomfield this way:
Allow me also to briefly introduce Michael Bloomfield, whom I mentioned before. Mike Bloomfield is the real burning soul,
when it comes to this form of music. I have never met anybody, being so enthusiastic with the blues as he is. Why that is, he
even really can't explain himself. He is only 20 years old, white, and you can say he comes from a "good" family. He has
never had any direct contact with the surroundings or conditions, where the blues is the obvious form of music, and nothing
says he ever will. His everyday routines can under no circumstances be compared to the poor quarters on the Southside. But
anyway he has a rare feeling for just this kind of music. To me he said: "If I had my way, I would not do nothing else than
play the blues. I would live down there, learn from those who know and can everything about the blues. I can nothing, I know
nothing, I think, except the blues is all my life." Maybe expressed a little nave, but said in dead earnest by a very young man.
But he was a bit humble when he said that he can nothing. Most of the Southside's blues men gladly choose this guy from the
garden city of the North side, when they are in need of accompaniment. As Eddie Boyd
YANK RACHELL
Yank Rachell, mandolin, vocals - John Lee Granderson, guitar - Michael Bloomfield, piano
6. Going to Pack Up My Things (4.03)
7. Every Night and Every Day (4.06)
8. Rock Me Baby (My Baby Rocks Me) (4.36)
9. My Babys Gone (4.43)
Recordings made by and for the Swedish Broadcasting Corporation. Broadcasted in the program I Blueskvarter (In Blues
Quarter) in 1965. Two double CDs have been released with the most exciting content. Included are recordings with Butterfield Blues Band with Smokey Smothers on guitar, Willie Mabon, Jim Brewer, Johnny Young, Walter Horton, Robert
Nighthawk, Washboard Sam, John Lee Granderson, Avery Brady, Little Brother Montgomery, Arvella Grey and St. Louis
Jimmy. Everything is of the best quality, real gems all over.
Bloomfield is very present on the above tracks, and they show him in his early years as a sideman for the old black blues
legends that he loved so much. These CDs are a MUST for any blues or Bloomer fan.
1999
10
1999
11
1964. June?
John Hammond jr., vocals, guitar, hca 15-24 - Michael Bloomfield, piano (guitar, backing vocals) 1-14 - C.D. (Charlie)
Musselwhite, hca, backing vocals 1-14 - Jaime R. (Robbie) Robertson, guitar, backing vocals 1-14 - Mark Levon Helm, dr,
backing vocals 1-14 - Eric (Garth) Hudson, Hammond organ, backing vocals 1-14 - Jimmy Lewis, bass 1-21 - Billy Butler,
electric guitar 15-21 - James Spruill, electric guitar 15-21 - bobby Donaldson, dr 15-21 - Barry Goldberg, electric organ 18 Barry Beckett, keyboards 22-24 - Eddie Hinton, guitar 22-24 - David Hood, bass 22-24 - Roger Hawkins, dr 22-24 - Duane
Allman, lead guitar 23,24 1. Down In The Bottom (3.01)
2. Long Distance Call (3.18)
3. Who Do You Love (3.00)
4. I Want You To Love Me (4.05)
5. Judgment Day (3.22)
6. So Many Roads, So Many Trains (2.40)
7. Rambling Blues (3.15)
8. O Yea! (3.32)
9. You Cant Judge A Book By The Cover (3.28)
10. Gambling Blues (3.10)
11. Baby, Please Dont Go (2.19)
12. Big Boss Man (2.40)
13. I Wish You Would (2.50)
14. Traveling Riverside (2.51)
15. They Call It Stormy Monday (4.07)
16. Statesboro Blues (3.20)
17. Keys To The Highway (3.11)
18. I Just Got Here (4.33)
19. Im A Man (3.16)
20. Backdoor Man (4.17)
21. Baby, Wont You Tell Me (2.38)
22. I Cant Be Satisfied (3.14)
23. Shake For Me (2.40)
24. Im Leaving You (3.18)
Probably MB only plays the (rather distant) piano that can be heard on most tracks (1-14). Charlie Musselwhite does a really
fine job on the hca and The Band members Robertson, Helm and Hudson plays like it was Bob Dylan they accompanied.
Tracks (13,14) were leftovers from So Many Roads and were used together on the album Mirrors with outtakes from the
first John Hammond eponymous named solo LP. I Wish You Would - made famous by The Yardbirds - is in fact rather
good in Hammonds version; again Musselwhite is blowing beautifully. John Hammond says that this session was
Musselwhite's recording debut, but he didnt know of the demo sessions held at Columbia and in Chicago.
Hammond recorded I Wish You Would twice. The version released as a single on the Red Bird RB 10-047 with a fine
picture cover is NOT the one with Bloomfield but from the LP I Can Tell. The same is the obscure ITZY #3 UB 689-label
release. Hammond tells that it was released by a private company that had a competition on local TV with an evening with
John Hammond as the first prize!
The date is set in June, as the story goes, that Bob Dylan was pointed to these sessions by his management to hear the
Canadians play, he did, and the former Hawks became his unnamed backing and of course later they became The Band.
1965
1965
3,6,11,12 - LP-2 THE BEST OF JOHN HAMMOND VANGUARD VSD 11/12 (US)
1967
1967
131
240
12
199?
1993?
1-24 - CD SO MANY ROADS THE COMPLETE SESSIONS VANGUARD VMD 79178 (I) 398
1993
133
295
2000
134
*****
ROBERT LEE NIGHT HAWK MCCULLUM
1964. Sept.
Prod. Norman Dayron - recorded at the Maxwell Street, Chicago
Robert Night Hawk, vocals, guitar 1-4,6-9,12-15,18-21,23-25,27,29,30 - Johnny Young, vocals, guitar 12,21 - Carey Bell,
hca, vocals 2,8,24,25,30 - Michael Bloomfield interviewer 10,11, guitar 12,19,20?,21,27?,29? - Big John Wrencher, vocals,
hca 13,15,30 - Little Arthur, guitar 2,5,8,15,25 - Arvella Grey, vocals, guitar 16,28 - Carrie Robinson, vocals, tambourine
17,26,31 - James Brewer, vocals, guitar 17,26,31 - Albert Holland, guitar 17,26,31 - Amos Gilmore, vocals, tambourine
17,26,31 - Mother Mary Northern, vocals, tambourine 17,26,31 - John Lee Granderson, guitar 1,3,4,6,7,9,19,20,27,29 Jimmy Collins, drums 1,3,4,6,7,9,19,20,27 - Unknown performer vocals, hca 22 - Big Mojo Elem, vocal, hca 23 - Fannie
Brewer, vocals, guitar 32
1. Goin' Down to Eli's (4.50) / Cheating And Lying Blues (4.50)
2. Mr. Bell's Shuffle (1.33) / Juke Medley(1.33)
3. The Time Have Come (5.04) / (5.07)
4. Yakity Yak (3.04) / Honey Hush (3.33)
5. Nighthawk Shuffle (1.45) / Red Top/Ornithology (1.45)
6. Take It Easy Baby (3.53) / (3.56)
7. Maxwell Street Medley (6.47) / Sweet Black Angel/Annie Lee (6.47)
8. Burning Heat (2.17) / Maxwell Street Jam (2.17)
9. I Need Love So Bad (5.16) / (7.01)
10. Excerpts From Interview/Kansas City (2.31)
11. Bloomfield Interviews Night Hawk (43.40)
12. The Sun Is Shining (4.01)
13. Cant Hold Out Much Longer (5.17)
14. Thats All Right (0.51)
15. Lucille (5.19)
16. Corinna, Corinna (1.53)
17. Power To Live Right (2.12)
18. Honky Tonk (3.32)
19. Dust My Broom (4.50)
20. Peter Gunn Jam (3.18)
21. All I Want For My Breakfast (5.23)
22. Long Gone John (2.26)
23. Mama, Talk to Your Daughter (6.04)
24. Im Ready (2.34)
25. Careyn On (1.50)
26. When the Saints Go Marching In (5.44)
27. Back Off Jam (5.12)
28. John Henry (6.56)
29. Love You Tonight (4.19)
30. Cruisin in a Cadillac (1.57)
31. Ill Fly Away (5.54)
32. I Shall Overcome (1.51)
33. Big World Blues (3.08)
34. I Got News For You (4.28)
35. All I Want For Breakfast/The Kind of People (4.10)
36. The Real McCoy (3.21)
37. Interwiev (13.30)
13
Interviews and music recorded for the documentary And This Is Free by Mike Shea. A 45-minute interview with
Bloomfield interviewing Nighthawk was found in 1999. Released in Japan on CD the same year and in US in 2000. The
interview (track 11) is made up of 5 tracks. 1. Musical introduction (0.54) - Reel 2 (11.16) - Reel 3 (10.43) - Reel 4 (10.43) Reel 1 (10.03).
These recordings show clearly that MBs playing and singing owes a lot to Robert Nighthawk. Nighthawk took his name
from his biggest success recorded in 1937 on Bluebird Prowlin Night-Hawk.
Michael Bloomfield was involved in the documentary And This Is Free. He does not appear in it, but he did do some overdubbed playing on the background soundtrack. In the booklet to the Rooster Record release Bloomfield is credited with some
background guitar on tracks with Johnny Young. It is not possible to say for certain as in most cases its the third guitar on
the track.
The triple Rooster CD set is an amazing collection of Chicago blues as it was heard in the street acoustic and electric. A
highly recommended set. Robert Nighthawk is heavily featured in the set, and he plays some mean slide guitar on most
tracks. Elmore James may have been the uncrowned King of Slide Guitar, but Nighthawk certainly comes close.
It appears that the Bloomfield/Nighthawk interview was filmed as well as most of the music, but in the 70s the footage not
used in the documentary was thrown out. It is said that director Mike Shea was more or less angry that his film did not get
much attention, and he just didnt think anybody would care for those old reels of footage. Luckily, all the tapes of the music
were stored in another place and survived.
The video And This Is Free, with some of the music, is due any time (late 2000). Maybe even before the city of Chicago
gets to carry out their plans to demolish the remains of the Maxwell Street quarter. A petition for saving the quarter is
ongoing at this moment (late 2000), together with a suggestion to name one of the streets Michael Bloomfield Boulevard.
The first row of titles and timings (1-10) are all from the Rounder record from 1980 (which is called unauthorized in the
booklet accompanying the triple CD from Rooster Records). The second row of titles and timings are from the triple CD
release from Rooster Records, which includes market noise, preaching and applause. Track 10 is an excerpt from track 11,
which appears as a bonus CD in the P-Vine as well as the Rooster and Catfish releases.
The credits are taken from the Rooster CD-set. On the Rounder LP the drummer on the Nighthawk tracks is credited as
Robert Whitehead.
The Bullseye CD include 5 previous unreleased recordings by Night Hawk plus an edited (13.30) version of the Bloomfield
interview.
1980
1991
1999
1-9,11-32 - CD-3 AND THIS IS MAXWELL STREET P-VINE PCD 5527/28 (JAP)
2000
1-9,11-32 - CD-3 AND THIS IS MAXWELL STREET ROOSTER RECORDS R2641 (US)
2000
1-9,11-32 - CD-3 AND THIS IS MAXWELL STREET CATFISH RECORDS KAT3D1/3 (UK)
2000
249
254/255
414
531
*****
MICHAEL BLOOMFIELD The Group
1964. Oct. 15. Recorded live at Big Johns on Wells Street, Chicago, by Norman Dayron
Michael Bloomfield, guitar 1,2,4, vocals, piano 3 - Charlie Musselwhite, hca 2,4 - Norman Mayell, drums 1,2,4 - Sid Warner,
bass 1,2,4 - Mike Gaptooth Johnson, guitar 1,2,4
1. Blues For Roy (9.25)
2. Country Boy (8.41)
3. Intermission Blues (7.00)
m MB
arr. MB
arr. MB
14
w/m MB
Great bluesy music. Wonder what else Norman Dayron and the family have in their vaults from the early 60s. It should be
put out now, just like these fabulous four tracks. It would be the right way to keep Michael Bloomfields name alive.
From the bonus CD that comes with the book If You Love These Blues by Jan Mark Wolkin & Bill Keenom, published
November 2000.
2000. Nov.
1-4 - CD RARE PERFORMANCES 1964 CD from the book If You Love These Blues
268
*****
MICHAEL BLOOMFIELD
1964. Dec. 7. Columbia Studios, Chicago - Prod. John Hammond Sr.
Michael Bloomfield, guitar, vocals - Charlie Musselwhite, hca - Mike Johnson, guitar - Sid Warner, bass - Norman Mayell,
drums - Brian Friedman, piano
1. Ive Got You In The Palm Of My Hand (2.24)
2. Last Night (3.21)
3. I Feel So Good (2.53) (incl. studio banter & false start) take 1?
4. Goin Down Slow (3.37)
5. I Feel So Good (2.21) take 2
6. I Feel So Good (2.58) take 3
7. Goin Down Slow (3.39) take 1
8. Ive Got You In The Palm Of My Hand (2.26) take 7
9. The First Year I Was Married (3.51) take 1
10. I Got My Mojo Working (2.52) take 4
11. Last Night (3.23) take 2
w/m MB
w/m MB
w/m MB
This is Michael Bloomfields debut as a solo recording artist. The tapes from this audition session were hidden in the
Columbia vault until the release of the CD in 1994. Maybe he was ahead of his time; a white Jewish kid playing the black
peoples blues. Its a wonder the blues purist (or was that the reason?) John Hammond didnt do more about his find. As
history shows, MB was quickly loaned out to Elektra to play with The Butterfield Blues Band.
All the tracks show that MB already was a gifted guitar player, knowing exactly what he wanted. No white musicians at that
time had recorded anything like this. He even sang with confidence. Although he did well in BBB, its very interesting to
imagine what could have happened if MB had been featured as a solo artist from Day One.
Track (2) has writer unknown despite Little Walter Jacobs having been credited since the first BBB album.
Norman Mayell writes in his biography about this period (from his website):
After high school I went to Hawaii and studied Philosophy and History in 1960. After a couple of years I returned home and
went to Chicago and started making sandals at John Browns sandal shop in Old Town. There I met Mike Bloomfield in Big
Johns on Wells Street, and he was talking to Big Joe Williams. I had no idea that he was already a player emerging out of the
folk era and had been written up in Sing Out Magazine. He asked me to get some drums and help start a band. And so we
became the first all white blues band in Chicago in 1963/64. Known as "The Group" and playing at Big Johns, we were
playing hot and primitive Chicago Blues to a packed club. Charlie Musselwhite played harp and sometimes Mark Naftalin sat
in. John Hammond Sr. from Columbia Records came to see us and put us in the studio. That session was finally released in
1994 on the Michael Bloomfield "Essential Blues" CD. John Hammond didn't know what he had. White guys high on dope
playing the blues; the Rolling Stones were waiting in the wings.
The film director Mike Shea took about 400 pictures during this session. They have never been used publicly. His son Patrich
Shea, gave me a copy of all 400 pictures to use for this, and you will find several of them scattered around here.
1994
1995
1997
079
15
2001. Feb.
5-11 LP IM CUTTING OUT SUNDAZED/COLUMBIA 5105 (US) 180 gram vinyl edition
325
2008
518
*****
16
After the last track on the CD, Going Down Slow, there is a minutes silence and then studio banter from the recording of
Nut Popper #1. John Hammond and the recording engineer cant hear the title Non-popper? Numb-popper? but when
MB spells (with a snarl!) the title in the microphone they finally get it! It is revealed that it was take 5 they were about to
start.
On the cover of Folksong 65 MB is credited for playing organ only on (20). In the wax of the album is etched 6.65.
Probably the production date.
1965
372
447
1965
081
1966. May
7.2211
1966. May
1966. May
1,8,17,21,22 - LP WHATS SHAKIN ELEKTRA EKS 74002 (US cover/UK label) stereo
7.0559
1966. May
1966. May
1973
19??
1976
17,21 - LP-2 GOLDEN BUTTER ELEKTRA 7E-2005 (US) Radio st. copy wh. lab.
177
1976
085
1976
1987
19??
1993
7.1060
1993
7.616
1998
1995
1995
083
1997. Oct.
6,8,20-22 - CD-2 THE PAUL BUTTERFIELD BLUES BAND AN ANTHOLOGY: THE ELEKTRA YEARS ELEKTRA 62124-2 (US)
188
7.3152
1965
2005
7.1171
7.1561
*****
MICHAEL BLOOMFIELD
1965. Mar. 1. Prod. Bob Morgan - Columbia Studios, NY
17
Michael Bloomfield, guitar, vocals - Charlie Musselwhite, hca - Mike Johnson, guitar - Sid Warner, bass - Norman Mayell,
drums - Brian Friedman, piano
1. Got My Mojo Working (2.36) (take 3)
2. Im Cutting Out (2.52) (take 8)
3. Lonesome Blues (4.44) (take 1)
w/m MB
The only three tracks to emerge from the second session held at the Columbia studio in NY. There must be more this, but we
can only hope for the rest to be included in the long awaited Mike Bloomfield Boxed Set! Even though the first attempt for a
Butterfield Blues Band album had been made, Columbia was still trying MB out as a bandleader and solo artist.
The first time (track 1) was released (vinyl) the producers credit went to John Hammond Sr.
1983
1983
1989
1994
2001. Feb.
2008
1995
024
079
325
518
*****
NICK GRAVENITES
1965
Chicago
Nick Gravenites, vocal and guitar - Mike Bloomfield, guitar - Elvin Bishop, guitar - Paul Butterfield, harmonica - Erwin
Helfer, harpsichord - Scotty Holt, bass - Steve McCall, drums - Lester Bowie, trumpet - Julian Priester, trombone - Roscoe
Mitchell, alto sax.
1. "Whole Lotta Soul" (3.30)
2. "Drunken Boat" (2.19)
Nick Gravenites from his blues letters: We got two bizarre-sounding songs, had a thousand copies made; five hundred got
lost in a warehouse somewhere, we gave away four hundred and sold a hundred. I gave my only copy to John Goddard of
Village Music in Mill Valley, California.. Track (1) could have been a pre-Electric Flag tune, with lots of horns on it.
Gravenites is not singing with the confidence he later got, and it is no wonder the single disappeared and became a (want-itall) collectors item. Bloomfield is not really audible, Paul Butterfield is the soloist on track (2).
1965
390
*****
BOB DYLAN
1965. June 15/16. Columbia Studio A, NY - producer Tom Wilson
Bob Dylan, vocals, guitar, hca, piano - Michael Bloomfield, guitar - Paul Griffin, piano, organ? - Al Kooper, organ 7-22 Harvey (Goldstein) Brooks, bass - Bobby Gregg, dr
1. Sitting On A Barbed Wire Fence (4.07) (Mono mix with count-in) (AKA Killing Me Alive)
2. Sitting On A Barbed Wire Fence #1 (3.51) (Stereo mix)
3. Sitting On A Barbed Wire Fence #2 (4.52) (Stereo acetate No. 86444 titled "Over The Cliffs")
4. It Takes A Lot To Laugh, It Takes A Train To Cry #1 (3.32) (Mono mix with count-in)
5. It Takes A Lot To Laugh, It Takes A Train To Cry #2 (3.29)
(Stereo mix #1 from acetate No. 86445 titled "Phantom Engineer")
18
6. It Takes A Lot To Laugh, It Takes A Train To Cry #1 (3.21) (Stereo mix #2)
7. Like A Rolling Stone (1.35) (Warm up Waltz)
8. Like A Rolling Stone (1.06) (CO 86446 take 1) (instrumental intro)
9. Like A Rolling Stone (1.55) (instrumental intro with count in by MB?)
10. Like A Rolling Stone (2.22) (CO 86446 remake take 1)
11. Like A Rolling Stone (0.31) (take 2)
12. Like A Rolling Stone (6.09)
13. Like A Rolling Stone (1.21) (take 6)
14. Like A Rolling Stone (0.31) (take 6 (2))
15. Like A Rolling Stone (1.39) (take 8)
16. Like A Rolling Stone (0.25)
17. Like A Rolling Stone (1.40)
18. Like A Rolling Stone (6.36)
19. Like A Rolling Stone (6.01)
20. Like A Rolling Stone (6.01)
21. Like A Rolling Stone (6.31) (Mono mix)
22. Like A Rolling Stone (6.06) (Stereo mix)
23. Sitting On A Barbed Wire Fence (Mono mix) (4.10)
Tracks (1-8) are Disc 7 of the fantastic 14 CD box from Great Dane BOB DYLAN * 1965 REVISITED that includes
almost everything Bob Dylan recorded in the year of 65.
Sitting On A Barbed Wire Fence is often called Killing Me Alive and has a fine wailing guitar from MB here and there,
while Paul Griffin? on the organ lays down a solid rhythm (Al Kooper claims that he did not play until Like A Rolling
Stone was recorded). The lyrics are probably off the cuff and the reason for not including the track in the album. The
differences between tracks (1 and 2) are that the count-in has gone and track (2) is mixed in stereo and is faded out.
Track (3) is an alternative take mixed in stereo. It has Dylans harmonica and piano in front. Although marked as #2, it
sounds like its the very first take, with Dylan at the piano trying to pound out a beat, and MB on guitar in the background
trying to figure out what he should be playing.
Track (5) has Bob Dylan on harmonica and piano and again he is mixed very much to the front, with MB sliding away in the
background. One gets the impression that Dylan is letting the band hear what he has in the bag. On track (6) MB is mixed
more to the front, but all three tracks are the same take, with only the fading in and out giving differences in time.
From the bootleg The Greatest Single Ever Made come 14! different takes of Like A Rolling Stone. Most of them break
down for different reasons.
Track (7) is the fabulous Like A Rolling Stone with Bob Dylan on piano playing the song for the first (?) time for the band
and he does it as a waltz! He breaks the take saying: The voice is gone, man! It is Dylan solo until the end where organ and
guitar comes in for a few seconds.
Track (8) is only the intro and it ends with Dylan saying: No thats wrong, man!
19
Track (9) has Dylan saying: Ill just play the introduction, man. Then someone counts in waltz tempo it sounds like MB
and Dylan starts and sings first verse. Dylans singing is close to the end-product, but the music is still a waltz.
Track (10) has the producer saying: OK, Bob, we got everybody here. Lets do one and then I play it back to you to take it
apart. Then the whole band goes for it. With organ and everything much like the finished song. Dylan sings a bit relaxed.
Only first verse again. Ends with Dylan saying: We just gotta work that part out, man.
Track (11) is only a short intro with Dylan stopping after Once upon a time..
Track (12) has the whole band and Dylan at their best. This take is faded out at (6.09) and probably is the released take.
Track (13) has again the whole band, and only first verse is sung. The tempo is different from the waltz versions and closer to
the end version, but its not quite the same. Ending with Dylan saying: Lets cut it!
Track (14) is ended with Dylan singing: Once upon a time, you dress so fine, threw the DUMS a dime..Lets take it
again.
Track (15) once again it sounds like it is MB counting 1-2-4-5-7. Only first verse is sung then its all faded out.
Track (16) the producer stops after 10 seconds, because there is something wrong time wise.
Track (17) is faded in and starts with the second verse. It sounds like it could be the continuation of track (15) as it has the
same kind of rolling drums. This is the first take with MB taking a solo only a few notes.
Track (18) at (6.36) its the longest version around. Its probably the same as the mono mix below (track 22). It is not faded
out, but ends with an organ note.
Track (19) is the mono version faded out at (6.01)
Track (20) is the stereo version faded out at (6.01)
The bootleg also includes two live versions of the Greatest Single Ever Made!
Track (21) is the released version thats (6.06) long, but all the albums as well as the CDs state (5.59)!? Beginning with
Biograph the almost-right timing was noted (6.08) but it still fades out at (6.06)!
The promo on red vinyl divides Like A Rolling Stone into two parts, both clocking in at (3.02).
The list of released recordings below is certainly not complete and there exists probably more outtakes from these sessions.
1965. June
1965. June
444
1965. June
22 - 7 LIKE A ROLLING STONE PART 1/PART 2 CBS 1.952 (NL) Pic. cov.
469
1965. Jul. 20. 22 - 7 LIKE A ROLLING STONE/(Gates Of Eden) COLUMBIA 4-43346 (US) Comp. cov.
158
1965
22 - 7 LIKE A ROLLING STONE /(Gates Of Eden) 7 CBS 201 811 (UK) Pic. Lab.
070
1965
22 - 7 LIKE A ROLLING STONE /(Gates Of Eden) 7 CBS 201 811 (UK) Nops diff. ctr.
137
1965
22 - 7 LIKE A ROLLING STONE /(Gates Of Eden) 7 CBS 201 811 (DK/UK) Pic. diff. lab. 177
1965. Aug. 30. 22 - LP HIGHWAY 61 REVISITED COLUMBIA CS 9189 (US)/CBS KCS 9189 (UK) stickers 147
1965. Aug. 30. 22 - LP HIGHWAY 61 REVISITED COLUMBIA CL 2389 (US) mono
069
438
1966
196?
1967. Mar.
1969?
097
1969?
078
135
20
1969
107
1969
105
1973
23 - LP-3 BOB DYLAN (A Rare Batch Of Little White Wonder) JOKER C 63/3 (I)
159
1978
184
1979
094
19??
408
19??
22 - 7 LIKE A ROLLING STONE /(Gates Of Eden) 7 CBS 1811 (UK) mono reissue nops
1984
1984
1984. Nov.
1985. Oct.
1985. Oct.
1992
066
199?
065
199?
108
199?
19??
146
199?
416
1991
1991
108
1991
111
1997
429
199?
180
199?
310
2000
22 CD-2 "THE VERY BEST OF BOB DYLAN" COLUMBIA/SONY COL 498540-2 (SWE)
543
2000
366
200?
415
2003
516
2010
21 CD THE BEST OF THE ORIGINAL MONO RECORDINGS COLUMBIA 88697791672 (EU) 528
2010
218
529
21
2011
540
*****
BOB DYLAN
1965. June 16. Columbia studio A, NY, producer Tom Wilson
Bob Dylan, vocals, guitar, hca, piano - Michael Bloomfield, guitar - Paul Griffin, piano - Al Kooper, organ - Harvey Brooks,
bass - Bobby Gregg, dr
1. Can You Please Crawl Out Your Window # 1 (3.49)
2. Can You Please Crawl Out Your Window # 2 (3.37)
3. Lunatic Princess Revisited (1.12)
Track (1) was released by mistake as Positively 4th Street on a 7 Columbia 4-43389 in September 1965, but was quickly
withdrawn and replaced by the right track. Track (3) is only found on the bootleg Dimestore Medicine and it lists it as
coming from this date, but who knows?
For what its worth:
These numbers can be read in the wax of different releases of Positively 4th Street:
1. The promo and pic. cover copy of the mispressed single in the compilers possession has ZSP111386-1C in the wax.
2. The red vinyl promo release has ZSP11386-1E like another regular release in pic. cover.
3. A regular release without pic. cover has ZSP111386-2A
4. A regular release from NL with pic. cover has ZSP11386-2L (fades out at 3.43 but lists 3.50 on the label)
5. A regular release from CAN has ZSP11386-1K (fades out at 3.43 but lists 3.50 on the label)
6. A regular release from UK has A-5202-4!?
So maybe the -1C suffix is the one to look for?!
Usually a new prefix would indicate a new take, but there is no difference between the varoius versions except for the time
for fade out. Maybe the prefix is a fade-out-production-number?
The version of Can You Please Crawl Out Your Window? on the later released single is the The Band-version and has
Robbie Robertson on guitar.
1965. Sep. 7.
356
1965. Sep. 7.
309
1979
094
199?
077
077
1992
066
199?
310
*****
BOB DYLAN
1965. Jul. 25. Sound check (1-3) and live (4-8) Newport Folk Festival, Freebody Park, Newport, Rhode Island, NY.
Bob Dylan, vocals, guitar, hca, organ 1 - Michael Bloomfield, guitar - Al Kooper, organ - Jerome Arnold, bass - Sam Lay, dr
- Barry Goldberg, piano
1. Organ Riffs (0.10)
2. Maggies Farm (instrumental) (0.15)
3. Like a Rolling Stone (instrumental) (0.16)
4. Maggies Farm (6.47 incl. introduction and strumming) (3.03 in Festival!)
22
1967
199?
199?
199?
1993
432
1999?
4-8 - CD-14 BOB DYLAN * 1965 REVISITED GREAT DANE GDR9419-14CD Boot
417
2003
525
2010
529
435
23
6. Elvins Blues
7. Thats Alright
8. Its About Time
9. Its True
10. Work Song
11. Born In Chicago (4.08)
12. Mellow Down Easy (3.52)
13. Michael Bloomfield Introducing Lightnin Hopkins (0.56)
14. Michael Bloomfield speaks on Son House and Butterfield (0.49)
15. Michael Bloomfield speaks on playing the blues (0.28)
Butterfield Blues Bands own set at the Newport 1965 Festival was recorded as well as Bob Dylans. After the introduction by
Peter Yarrow (from Peter, Paul and Mary) there is a very sparse applause. The band plays very well with a nice slide guitar
from MB on (2). After this song, the audience wakes up and applauds with great enthusiasm. It's great to hear such an early
live recording from BBB. The whole concert was recorded with the intention to release it as the bands first album, but only
the four tracks below have surfaced. Not even a bootleg of the complete set is circulating! Track (1) is faded in in the movie
as is track (11) at (1.26) and it cues into a Bloomfield speak (0.28): Every time, every time I play, you know, you start and
get into the music and reach a point within yourself. Its you and the music, you know. They are two separates and when they
come together (claps his hands) you are complexly into itand when you get into that music, man, that music becomes you,
and you play together, and you play blues thats all you and not just your hands, all of you. You are a part of that music.
Also in the movie Festival there is a short clip (0.49) with Michael Bloomfield (he even gets his own credit in the opening
titles), where he apparently is asked about himself and Son House, and he answers: You see with Son House its the more
serious thing. In hell, man, Im not Son House. Im not Son House. I havent been pissed on, stepped on and shitted on you
know like he has. I havent gone through that. My father is a multi millionaire, you know. I lived a rich, fat, happy life, man, I
had a big Bar Mitzvah. Im not Son House. I can play blues, you know and I can feel it in a way, man, those guys are a
different story. Thats a different thing all together, but you can quote me on this, man: Butterfields something elsehe
feels it justhes in there all the wayButterfield is a blues singer...theres no white bull shit with Butterfieldwhite
colored thing with him. I mean hes there, and if he was green it wouldnt make any difference. If he was a Plunaria, a tuna
fish sandwich, Butterfield would be into the blues.
The date is listed as (Monday!) July 26, 1965 in the Columbia album Bloomfield - A Retrospective, but Peter Yarrow
announces that the crowd will be able to hear BBB later this evening with Bob Dylan, so it is of course the 25th.
1965
1965
1965
274
435
1972
246
1983
1983
024
2,3,11,12 - CD-2 DROPPIN IN WITH THE PAUL BUTTERFIELD BLUES BAND Boot
213
1993
093
1993
432
2001
329
434
2003
525
2008
518
2002
24
*****
BOB DYLAN
1965. July. 29. Columbia Studio A, NY - producer Bob Johnston
Bob Dylan, vocals, guitar, hca - Michael Bloomfield, guitar 1-4 - Paul Griffin, piano - Al Kooper, organ, guitar 5 - Harvey
Brooks, bass - Bobby Gregg, dr - Chambers Brothers, vocals 4 (according to the latest Dylan release (2010): The best of the
original mono recordings it is Al Kooper playing guitar on Positively 4th Street! but the booklet does not list organ or
drums so I guess its a mistake. The organ is the main instrument, and you cant hear any Bloomer licks.)
1. Positively 4th Street (3.50)
1a "Positively 4th Street" (4.17)
2. Tombstone Blues (5.55)
3. It Takes A Lot To Laugh, It Takes A Train To Cry (4.04)
4. Tombstone Blues (6.18)
5. Desolation Row (take 1)
Track (4) from the Bootleg Dimestore Medicine is listed as from this date with the Chamber Brothers singing back up
vocals, its a longer version than the released track (which is faded in and out). By the way, please note that all the timings in
the CD booklet are wrong, and that there are 5 seconds of fade out on all tracks.
Track (1) has different timing from vinyl to CD due to a slower version on the CDs. The US promo is (3.44), the 1E (wax
prefix) single is (3.47), the US 2A single is (3.45), the CAN single is (3.46) the UK single is (3.45). The Australian
Masterpieces CD-3 is (3.53), the Greatest Hits CD is (3.51) as well as the Biograph version. All these are the same version,
slowed down or faded out differently. The bootleg version on HWY 61 Revisited Again and on the Great Dane 1965
Revisited is longer (4.17) but it's still the same version but faded or cut much later. No version is known to end without fade
or cut.
1965. Sep. 7.
1 - 7 POSITIVELY 4TH STREET/same COLUMBIA 4-43389 (US) wh.lab red vinyl promo
260
Few copies known to exist with Can You Crawl Out Your Window instead of Positively 4th Street
1965. Sep. 7.
089
1965 .Sep.
370
1965
1 - 7 POSITIVELY 4TH STREET/FROM A BUICK 6 CBS 201 824 (UK) Comp. cov.
138
1965
470
1965. Aug.
2,3 - LP HIGHWAY 61 REVISITED COLUMBIA CS 9189 (US)/CBS KCS 9189 (UK) stickers 147
1965. Aug.
1965
1966
1967. Mar.
1967. Mar.
1971
092
1971
091
1971
4.122
1978. Mar.
069
25
1978
184
1978
1984
1984
1984. Nov.
1985. Oct.
1985
1985
061
199?
109
199?
065
199?
108
199?
19?
19??
1991
199?
1a-3 - CD-14 BOB DYLAN * 1965 REVISITED GREAT DANE GDR9419-14CD (long version)
1992
066
199?
180
199?
310
2000
366
2003
516
2010
1,2 CD THE BEST OF THE ORIGINAL MONO RECORDINGS COLUMBIA 88697791672 (EU) 528
2010
2, 5 CD-2 NO DIRECTION HOME THE SOUNDTRACK COLUMBIA C2K 93937 (US) 529
(2) Take 9 alternate take (5) alternate take 1 - THE BOOTLEG SERIES VOL. 7
2011
218
540
*****
BOB DYLAN
1965. July 30. Columbia Studio A, NY - producer Bob Johnston
Bob Dylan, vocals, guitar, hca - Michael Bloomfield, guitar 1-5 - Paul Griffin, piano 1-4 - Al Kooper, organ 1-4 - Harvey
Brooks, bass 1-4 - Bobby Gregg, dr 1-4
1. From a Buick 6 # 1 (3.11) (mono mix)
2. From a Buick 6 # 2 (mono acetate mix)
3. From a Buick 6 # 2 (3.06) (stereo mix)
4. From a Buick 6 (2.37) (Stereo mix)
26
1965. Sep. 7.
089
1965. Sep.
370
1965
470
1965
3 - FROM A BUICK 6/POSITIVELY 4TH STREET 7 CBS 210 824 (UK) Nops
138
1965
1965. Aug.
147
1965. Aug.
069
1969?
074
1973
4 - LP-3 BOB DYLAN (A Rare Batch Of Little White Wonder) JOKER C 63/3 (I)
159
1979
094
1984
199?
065
199?
108
199?
1992
199?
199?
310
2003
516
066
*****
BOB DYLAN
1965. Aug. 2. Columbia Studio A, NY - producer Bob Johnston
Bob Dylan, vocals, guitar, hca, piano 1, police car 3 - Michael Bloomfield, guitar - Paul Griffin, organ, piano - Al Kooper,
organ - Harvey Brooks, bass - Bobby Gregg, dr - Frank Owen, piano
1. Ballad Of A Thin Man (5.55)
2. Queen Jane Approximately (5.26)
3. Highway 61 Revisited (3.25)
4. Just Like Tom Thumbs Blues (Take 5)
5. Highway 61 Revisited (alternate take 6)
1965. Nov. 30. 3 - 7 HIGHWAY 61 REVISITED/(Can You Please Crawl Out...?) COLUMBIA 4-43477(US) 156
1966. Nov. 30. 3 - 7 HIGHWAY 61 REVISITED/(Can You Please Crawl Out...?) CBS 210900 (UK)
139
27
1966. Feb.?
157
1966
1965. Aug.
1-3 - LP HIGHWAY 61 REVISITED COLUMBIA CS 9189 (US)/CBS KCS 9189 (UK) sticker 147
1965. Aug.
1965
1968
068
1969
107
1978. Mar.
1978
1978
1984
199?
065
199?
108
199?
19?
111
1992
066
199?
310
2000
366
2003
516
2010
4,5 CD-2 NO DIRECTION HOME THE SOUNDTRACK COLUMBIA C2K 93937 (US) 529
(4) alternate take 5 (5) alternate take 6 - THE BOOTLEG SERIES VOL. 7
*****
069
184
BOB DYLAN
1965. Aug. 4. Columbia Studio A, NY - producer Bob Johnston
Bob Dylan, vocals, guitar, hca, - Paul Griffin, piano 1 - Al Kooper, organ 1, - Bobby Gregg, dr 1 - Frank Owen, piano 1,
maracas 1 - Russ Savakuss, bass 1,2 - Charlie McCoy, guitar 1,2 1. Just Like Tom Thumbs Blues (5.26)
2. Desolation Row (11.20)
There has been a great deal of discussion about the guitar player on the released version of Desolation Row. Is it MB or is
it Charlie McCoy? Probably it is Charlie McCoy on the August version, and Michael Bloomfield on an unreleased mono-only
version from July 30, 1965.
1965. Aug.
1,2 - LP HIGHWAY 61 REVISITED COLUMBIA CS 9189 (US)/CBS KCS 9189 (UK) stickers 147
1965. Aug.
1965
1971. Nov.
069
28
1984
199?
065
199?
108
199?
109
1987
19??
1 - CD-2 MORE BOB DYLAN GREATEST HITS COLUMBIA COL 467851-2 (AUT)
110
1991
111
199?
1992
066
2003
516
*****
BOB DYLAN
1965
Rehearsals for the 1965 tour with The Band
Bob Dylan, vocals, guitar, hca - Robbie Robertson, guitar - Garth Hudson, organ - Levon Helm, dr - Richard Manuel, piano Rick Dank, bass and rumored: Michael Bloomfield, guitar - Al Kooper, guitar
1. Midnight Train (058)
2. Can You Please Crawl Out Your Window (0.53)
3. I Wanna Be Your Lover (3.33)
4. Number One (4.03) piano instrumental
5. Visions Of Johanna (7.40)
6. Shes Your Lover Now (6.35)
7. Jet Pilot (1.30)
This should be a rehearsal tape with The Band and MB and AK. AK played on a few gigs on the December North American
and Canadian tour. The recording is of high quality. The songs have been scattered over many Bob Dylan bootleg LPs and
CDs.
19??
1-7 - CD BOB DYLAN Live with the Band, Al Kooper and Mike Bloomfield DR 015 Bootleg
067
19??
545
*****
PETER, PAUL & MARY
1965
Producer Albert B. Grossman - Musical director Milton Oakum
Peter Yarrow, vocals, guitar - Paul Stoke, guitar, vocals - Mary Travers, vocals - Michael Bloomfield, guitar - Paul Butterfield, hca - Bill Lee, bass - Mark Naftalin, organ - Buddy Salzmann, dr
1. The King Of Names (4.05)
In the meantime you must live, so the musicians take on session work when it comes. Paul Butterfield and Mark Naftalin are
carrying the track. MB is absolutely audible in the first quarter of the track playing an acoustic slide. Al Kooper plays organ
on another track, which indicates that the session might have been after the Bob Dylan sessions.
1966
1 - LP ALBUM WB WS 1648 (US) Light grey label w/WB in red. Original label.
29
1966
037
1966
155
196?
1991
JUDY COLLINS
1965. late
Judy Collins, vocals - Michael Bloomfield?, guitar - Al Kooper, organ, ? bass - ? drums hca? 2
1. "I'll Keep It With Mine" (3.10)
2. "Thirsty Boots" (2.55)
Probably recorded close to the release date in November 1965. Bob Dylan is supposed to have written track (1) for Judy
Collins. He recorded it for his "Bringing It All Back Home" album, but it was left off. Not released by Dylan until his
Biograph box set in 1985. Track (2) is written by Eric Andersen.
Judy Collins does not remember the players on this (very) hard to find single. On track (1) it is Al Kooper on organ (Like A
Rolling Stone-style) but there is also a harpsichord. The guitar is almost not audible and can be anyone. In Al Koopers book
Backstage Passes & Backstabbing Bastards, he says: I played on Judy Collins version of Bob Dylans Ill keep it with
mine for which Bloomfield was expressly flown in from Chicago. Track (2) has distinct harmonica and fine acoustic guitar.
From two very different sessions.
1965. Nov.
1,2 - 7" - "I'LL KEEP IT WITH MINE/THIRSTY BOOTS" ELEKTRA EK-45601 (US) radio promo 519
1965
1,2 - 7" - "I'LL KEEP IT WITH MINE/THIRSTY BOOTS" LONDON HLZ 10029 (UK)
2005
481
*****
PAUL BUTTERFIELD BLUES BAND
1965. Sep.
A&R Studios, NY.
Producers Paul A. Rothschild & Mark Abramson
Paul Butterfield, vocals, hca - Michael Bloomfield, guitar - Elvin Bishop, guitar - Jerome Arnold, bass - Sam Lay, dr, vocals
5 - Mark Naftalin, organ
1. Born In Chicago (3.05)
2. Shake Your Money-Maker (2.28)
3. Blues With A Feeling (4.24)
4. Thank You Mr. Poobah (4.05)
m Butterfield-Bloomfield-Naftalin
5. I Got My Mojo Working (3.32)
6. Mellow Down Easy (2.47)
7. Screamin (4.37)
m Bloomfield
8. Our Love Is Drifting (3.34)
9. Mystery Train (2.39)
10. Last Night (4.18)
11. Look Over Yonders Wall (2.25)
12. Got My Mojo Working (2.10) single edit. Fades out.
13. Mellow Down Easy (2.30) single edit. Fades out.
There are discrepancies with almost all the timings all the way from the first vinyl release. Never trusts cover info! The
timings are taken from the 1965 album and some are a few seconds longer than on CD releases. Mellow Down Easy fades
out one minute before the timing on the cover, and that error is still carried on by the CDs!
30
Apart from that, the record is magnificent! What music, what instrumentalists and what a voice Paul Butterfield had and what
a harmonica! No wonder he was popular in both black and white local clubs in Chicago. When compared to the first recorded
version of the album, this session is far superior if were talking guitar. Bloomfield sparkles here, he is the lead guitarist and
every track bears his mark (and Butterfields of course). In fact, the whole band is superb. The gifted Mark Naftalin plays
great organ, especially on the instrumental (4).
This record was and still is a landmark in music history. It may not have sold accordingly, but it still sounds fresh. The
influence the band had on coming musicians cannot be overrated. The playing is superb all over. Butters harmonica is a lead
instrument alongside MBs guitar.
In the 1971 McClosky interview it is stated by the interviewer, that track (10) Last Night was the first recording.
The drummer Sam Lay and the bass player Jerome Arnold had played regularly with Howlin Wolf before joining BBB.
The picture of the band on the upper half of the cover is without Mark Naftalin. The picture on the lower half is without him
and Michael Bloomfield as well. Neither was a regular member of the band from the start. Maybe its a live photo from Big
Johns in Chicago?
Tracks (4,5) were recorded on Sept. 9, 1965, according to Mark Naftalin. Love Her with a Feeling, listed under 1964.
December, is probably from this session (due to Mark Naftalins presence).
The label copy LP Golden Butter from Elektra has a type writer written track list dated March 15, 1972 and lists side 1 and
2 of the released album, but plays side 1 and 4!
1965. Oct.
363
1965
1965
1965
1,2 7 BORN IN CHICAGO/SHAKE YOUR MONEY MAKER VEDETTE VRN 34075 (I)
1965. Oct.
1965. Oct.
1965. Oct.
1-11 - LP THE PAUL BUTTERFIELD BLUES BAND ELEKTRA EKL 294 (US) B/W label
Promotion Preview Record
1965. Oct.
316
001
149
1965. Oct.
1965
1-11 LP THE PAUL BUTTERFIELD BLUES BAND VEDETTE VRM/VRS 36053 (I) mono/stereo
1967
1 LP SELECT ELEKTRA ELEKTRA EUK 261 (UK) Various artists sampler. Red label.
1972. Mar.
380
1972
1,2,6,8,9,11 - LP-2 GOLDEN BUTTER ELEKTRA 7E-2005 (US) Radio st. copy wh. lab.
177
1972
1976?
085
31
1985
19??
1987
1988
1992
1993
1994
1995
1997
7.1753
1997. Oct.
188
1998
1-4,8-10 - CD-2 THE PAUL BUTTERFIELD BLUES BAND AN ANTHOLOGY: THE ELEKTRA YEARS ELEKTRA 62124-2 (US)
2 - CD BLUES MASTERS: SLIDE GUITAR CLASSICS RHINO
1998
2001
353
2001
1-11 LP THE BUTTERFIELD BLUES BAND SUNDAZED LP 5095 (US) 180 gr. vinyl
332
1995
165
079
*****
Advertising for the first Butterfield Blues Band LP.
Public relations photo for the first LP.
*****
Record Beat magazine 1966 on Butterfield Blues Band
*****
CHUCK BERRY
1965. Sep. 1. Ter Mar Recording Studios, Chicago
Chuck Berry, vocal, guitar - Johnnie Johnson, piano - Jasper Thomas, drums - Chuck Bernard, bass
1. Run Joe
2. Every Day We Rock And Roll
3. One For My Baby
4. Its My Own Business
5. Right Off Rampart Street
6. My Mustang Ford
1965. Sep. 2.
Chuck Berry, vocal, guitar - Johnnie Johnson, piano - Jasper Thomas, drums - Chuck Bernard, bass
7. Vaya Con Dios
8. Merrily We Rock And Roll
32
Michael Bloomfield, guitar 12,13 - (Paul Butterfield?, hca. 12,14) - Peter Hogan, harmonica 12,14 - (Chuck Berry, vocal,
guitar - Johnnie Johnson, piano - Jasper Thomas, drums - Chuck Bernard, bass, was recorded on the 1st and 2nd)
12. It Wasnt Me (2.31) (singles and LPs) rec. on Sept. 2 overdubs Sept. 3.
13. Aint That Just Like A Woman (2.12)
14. Sad Day - Long Night (2.40) (instrumental) (CD and only UK LP)
15. Forgive Me (unissued)
It is believed that Michael Bloomfield and Paul Butterfield were the two studio musicians overdubbing guitar and harmonica
on the above tracks (12-15). They have only been credited for contributions to track (12) (in the booklet for the CD release of
Fresh Berrys from 1998) In the booklet in the Chuck Berry Chess Box Peter Hogan is credited for the harmonica and an
unknown second guitar is credited for track (12). On Sad Day, Long Night (14) only Hogan is credited other than the
usual band and there is no second guitar. On track (13) there is a second guitar but no harmonica. Track (15) remains to be
heard.
On the 1986 LP/CD Rock n Roll Rarities the recording date for track (12), It Wasnt Me, (in stereo) is September 1,
and on the back of the US version of Fresh Berrys the recording date is September 1 - 2. The track on the 1986 release is
without second guitar and harmonica, and is thus a backing track with Chuck Berrys vocal much more to the front.
Probably all the tracks (12-15) were recorded on the 1st or 2nd of September, and the duo overdubbed guitar and hca on
September 3. The matrix number 14160 for (12) indicates that it was recorded same day as (11) with 14163.
1965. Sep.
357
1965. Sep.
11,12 - 7 IT WASNT ME/(Welcome Back Pretty Baby) CHESS 1943 (US) blue label
358
1965. Oct.
318
1965. Nov.
1965. Nov.
1965
1966. Apr.
1969. Apr.
1986
266
1988
12,14 - CD-3 THE CHESS BOX SET CHUCK BERRY MCA CHD3-80001 (US)
392
1998
194
270
151
*****
The Butterfield Blues Band played at Big Johns in Chicago all of October 1965
*****
DICK CAMPBELL
1965. Oct.
Producers Lou Reizner & Eddie Mascari Recorded at Universal Recording Studios, Chicago
33
Dick Campbell, vocals, rhythm guitar - Michael Bloomfield, 12-string guitar - Jimmy Vincent, 12-string guitar Pete(r)
Cetera, bass - Mark Naftalin, organ - Marty Grebb, tambourine, piano, finger cymbals and percussion - Artie Sullivan,
tambourine, vocals - Paul Butterfield, hca - Billy Herman, dr - Sam Lay, dr - Larry Wrice, dr
1. The Blues Peddlers (2.45)
2. Youve Got To Be Kidding (3.10)
3. Sandi (2.35)
4. The People Planners (2.33)
5. Aphrodites Child (3.15)
6. Despairs Cafeteria (2.55)
7. Approximately Four Minutes Of Feeling Sorry For D.C. (4.00)
8. Object Of Derision (2.35)
9. Where Were You (2.03)
10. Girls Named Misery (2.41)
11. Ask Me If I Care (2.33)
12. Don Juan Of The Western World (3.09)
Dick Campbell was a Dylan wannabe that never went anywhere except as a song writer. Its the complete Butterfield Blues
Band apart from Jerome Arnold, bass. Butterfield plays a Dylan-like intro to (1) and Mark Naftalin plays a Like A Rolling
Stone-ish" intro to (2). The overall sound is very much like Highway 61 Revisited due to MBs playing. According to Dick
Campbells son, Gary Campbell in a mail to Paul Thompson, the contract with Mercury was signed on Oct. 8, and then
recording started immediately for the next three weeks. Dick Campbell was on his way to California, but was offered this
contract and stayed in Chicago. Track (4) is a Like A Rolling Stone rip off. Maybe the whole thing was meant to be a
parody? If so, its rather good! The songs were recorded over three sessions: 1st day: 3-6-2-12-8-5 - 2nd day: 1-4-7 and 3rd
day: 11-9-10
In 2003 the record company Rev Ola released a CD with Dick Campbell, who had died the year before. It was his son Gary
Campbell that was the main producer. Including Gary Usher on backing vocals. No Bloomfield here. Dick Campbell had
recorded and/or produced a lot of records for more or less obscure labels before and after the LP. Take a look at Garys
homage to his father at: http://webpages.charter.net/dickcampbell/
1965
1,4 - 7 THE BLUES PEDDLERS/THE PEOPLE PLANNERS MERCURY 72511 (US) Pic. cov. 252
1965
1-12 -LP DICK CAMPBELL SINGS WHERE ITS AT MERCURY SR 61060 (US) Stereo
1965
1-12 LP DICK CAMPBELL SINGS WHERE ITS AT MERCURY MG 21060 (US) Mono
042
*****
August 13, 1965 The Matrix, San Franciscos first folk night club, opened at 3138 Fillmore in the Marina District.
A new band called The Jefferson Airplane performed.
*****
THE BUTTERFIELD BLUES BAND
1965. Dec.
Recorded live at The Matrix, San Francisco, CA
Paul Butterfield, vocals, hca - Michael Bloomfield, guitar, vocals 4 - Elvin Bishop, guitar, vocal 5 - Mark Naftalin, piano Jerome Arnold, bass, vocals 8 - Billy Davenport, drums (Sam Lay, drums??)
1. I Feel So Bad (3.01)
2. Driftin & Driftin (6.45)
3. 300 Pounds of Joy (3.36)
4. Reconsider Baby (3.44)
5. This Road I Travel (3.57)
6. Get Out of My Life Woman (3.17)
7. One More Heartache (3.42)
8. In The Midnight Hour (2.51)
9. Walkin By Myself (3.38)
10. Born in Chicago (3.59)
11. Got My Mojo Working (5.47)
34
Paul Butterfield introduces track (10) as I Was Born In Sonora, which might give a hint of the location!
Paul Butterfield dedicates track (3) to to a friend of mine, by name of Louis Myers. A very kind and outstanding man.
Butterfield is having fun introducing the tracks. The encore (11) is introduced as A Melancholy Baby.
1965
339
*****
February 4-11, 1966 Whisky-A-Go-Go, Los Angeles, CA
*****
BOB DYLAN
1966. Jan. 25. Columbia Recording Studios
1. Leopard-skin Pill-box Hat (take 1) slow
2. Leopard-skin Pill-box Hat () Dylan guitar solo
3. Leopard-skin Pill-box Hat () extra verse
1966
2010
529
*****
THE CHICAGO LOOP
1966
Prod. Bob Crewe and Al Kasha 1,3,4 - Al Kasha 2
Judy Novy, vocals, percussion - Bob Slawson, vocals, rhythm guitar - Barry Goldberg, organ, piano - Carmine Riale, bass John Siomos, drums - Michael Bloomfield, guitar 1 - John Savanno, guitar, 2-4
1. "(When She Wants Good Lovin') She Comes To Me" (2.49)
1a. MacLeans commercial (0.30)
1b. (When She Needs Good Lovin) She Comes To Me
+ interview with Bob Slawson & Judy Nowotny ( 6.06)
1c. (When She Needs Good Lovin) She Comes To Me + interview with Judy Novotny (6.17)
2. "This Must Be The Place" (2.30)
3. "Richard Corey" (2.50)
4. "Cloudy" (2.40)
Michael Bloomfield is only present on the first track (1). The band was named Time at first, and recorded six demo
tracks, where MB might have helped out, as they didnt have a lead guitarist until they had recorded the first track in the
studio. Then John Savanno joined the group. The only female member of the group - Judy Novy had, prior to this,
recorded an album with her older brother as the duo Len & Judy. Bob Slawson had been in a couple of folk bands, like
the Almanac Singers. The others - except for Barry Goldberg of course - had little experience and only from local or school
bands.
The first Chicago Loop single hit the Billboard list as no 37! Something new for MB and cohorts.
The first Dynovoice release (1,2) was on a blue label with silver print. Later pressings had the same design, but were
multicolored. In Canada the first single was released on the Bell label and credits for music and lyrics for (1) is J. Novy
B. Slawson C. Riale J. Siomos, but on all the Dynovoice releases the credit is Lieber Stoller!
The title for the first track (1) varies on different lables. The labels on the Canadian and UK releases reads: (When She
Needs Good Lovin) SHE COMES TO ME (needs not wants) as does the IN-sound labels.
35
The MacLeans promo LP (Not for sale, broadcast or commercial use!? What then for??) have tracks by Jeannie Brittan,
Tommy Roe, Peter And Gordon, The Four Coins, Mitch Ryder & The Detroit Wheels, Marilyn Maye, The Tokens and Stan
Getz/Astrud Gilberto. They are all doing a 30-second song about the wonder of MacLeans toothpaste. It sounds like MB
is playing the guitar on the Loops version of the commercial.
The IN Sound LPs are sponsored by the U.S. Army and hosted by Harry Harrison (a high geared dj). HH is calling people
to ask them for a record to play. HH announces and talks on the telephone with the artists involved. All along he tells you to
join the army! In track (1b) Judy Novotny and Bob Slawson are talking about the name of the group. It was called The
Chicago Loop to preserve the name, as the Loop was being torn down at that time, they say. In track (1c) Judy is being
asked what it is like to be the only girl in the group. She answers that her gender does not matter in that relation; she was a
founding member of the group.
In 1968 The Chicago Loop got a contract with Mercury and regrouped to this formation: Bob Slawson, vocals - Stephen
Wasserman, bass - Jackie Dana, guitar, vocals - P.J. Bailey, drums - producers: Chris Welch & Bob Slawson
The new Chicago Loop released two singles on Mercury:
5. Cant Find The Words (2.20)
6. Saved (2.20)
7. Technicolor Thursday (2.04)
8. Beginning At The End (2.39)
All singles are contemporary pop music - searching for a hit!
1966.Nov.
281
1966?
229
1966?
1,2 - 7 SHE COMES TO ME DYNOVOICE 226 (US) multicolored label diff. lay out
284
1966.Nov.
1,2 - 7" "SHE COMES TO ME" STATESIDE SS 564 (UK) Green lab. Demo rec. dated 25.11.1966. 468
1966
1,2 - 7" "SHE COMES TO ME" STATESIDE SS 564 (UK) Black lab.
463
1966
1,2 - 7 SHE COMES TO ME BELL DYNOVOICE 226X (CAN) Blue and silver label
302
1966. Nov.
379
1966. Dec.
379
1966. Dec.
313
1967
251
1967. Nov.
5,6 - 7 CANT FIND THE WORDS/SAVED MERCURY 72755 (US) wh.lab. promo
242
1967. Nov.
5,6 - 7 CANT FIND THE WORDS/SAVED MERCURY 72755 (US) comp. cov.
243
1968. Sep.
1994
1 - CD - LOVE POWER - HARD TO FIND HITS OF THE 60s SEQUEL NEM CD 669 (UK)
*****
RHEINGOLD CENTRAL PARK MUSIC FESTIVAL Held in New York City - PAUL BUTTERFIELD 8-26-66
*****
Bill Graham shows (Fillmore Auditorium / Fillmore West / Fillmore East / Winterland)
** are afternoon (usually Sunday) shows
36
March 25, 26, 27, 1966 Fillmore Auditorium -- Butterfield Blues Band / Quicksilver Messenger Service
April 16, 1966 Harmon Gym UC Berkeley Campus Butterfield Blues Band / Jefferson Airplane April 15, 17, 1966 -- Fillmore Auditorium -- Butterfield Blues Band / Jefferson Airplane June 24, 1966 Cambridges Club 47 where Crawdaddy Magazines Paul Williams conducted an interview with the band.
Sept. 23,24,25**, 30, 1966 -- Winterland -- Butterfield Blues Band / Jefferson Airplane / Muddy Waters
Oct. 1,2**,7,8 1966 -- Winterland -- Butterfield Blues Band / Jefferson Airplane / Muddy Waters
Oct. 9, 1966 Fillmore Auditorium ** -- Butterfield Blues Band / Jefferson Airplane / Grateful Dead
Oct. 14,15,16 1966 -- Fillmore Auditorium -- Butterfield Blues Band / Jefferson Airplane / Big Mama Thornton
*****
BUTTERFIELD BLUES BAND
1966?
Recorded live at Mark Naftalins house?
Paul Butterfield, hca - Michael Bloomfield, guitar - Elvin Bishop, guitar - Mark Naftalin, keyboards - Jerome Arnold, bass Billy Davenport, dr
1. Work Song (11.36) cut short
This is claimed to be recorded at Mark Naftalins house. The quality of the recording is not the best, but the playing is fine.
My guess is that it is a live recording cut short, so there is no audience noise. You can hear MB shout here and there.
1966?
1 CD WORK SONG
399
*****
37
This show was recorded by the now famous guitar technician Dan Erlewine (and his brother). It was DE who gave MB his
famous Gibson guitar (that later was lost in Canada).
A review from the magazine Variety dated June 1, 1966, tells us: "Butterfield's six-piece group dishes up big beat blues at
its best. The sound, definitely not for delicacy of ear, is a times almost overwhelming in sheer volume. The band's three
electric guitars, drums, organ and Butterfield on harmonica, play with considerable intensity, yet never degenerate into
becoming merely noise. The overall sound is more complex than may be apparent at the first listening and rages from a
pulsating moodiness to an exiting exuberance. The band is responsive to one another, playing at what seems at times to be
wild abandonment, but always as an ensemble.
Outstanding in the turn was a throbbing treatment of "The Ragga" (!) an instrumental heavily influenced by the music of
India."
1996
163
*****
PAUL BUTTERFIELD BLUES BAND
1966. spring Live at Southerland Hotel, Chicago
Paul Butterfield, vocals, hca - Michael Bloomfield, guitar 1,2 - Elvin Bishop, guitar - Jerome Arnold, bass - Mark Naftalin,
organ - Billy Davenport, drums Abraham Smokey Smothers, guitar 3-8
1. Come On In (1.56)
2. Born in Chicago (3.03)
3. I Say (3.06)
4. Poor Boy (3.16)
5. Last Night (3.54)
6. (Hot) Pepper Jam (2.21)
7. 1.000 Miles From Nowhere (4.08)
8. Im Going Home (2.57)
This entry is only included to avoid misunderstandings.
These tracks are form various sources and Bloomfield is only present on (1,2). Come On In is taken from the BBB single
and Born In Chicago is taken from the album Folksong 65. The remaining tracks are without MB and are recorded
May 22, 1964 at Southerland Lounge, Chicago for Swedish Radio. Later to be released on the CD-2 I Blueskvarter
Chicago 1964 Volume Two except for tracks (6,7) that remains unreleased officially.
?
1-8 - CD-2 DROPPIN IN WITH THE PAUL BUTTERFIELD BLUES BAND Bootleg
312
*****
BUTTERFIELD BLUES BAND
1966. Spring Live at The Unicorn Coffee House, Boston
Paul Butterfield, vocals 1-5,6-12,14, hca - Michael Bloomfield, guitar, vocals 12 - Elvin Bishop, guitar, vocals 5, 13 Jerome Arnold, bass., vocals? 14,15 - Mark Naftalin, organ - Billy Davenport, drums
1. Look Over Yonders Wall (4.54) incl. introduction and strumming
2. Born in Chicago (4.17)
3. Love Her With A Feeling (6.00)
4. Get Out Of My Life, Woman (3.40)
5. Never Say No (4.06)
6. One More Heartache (3.55)
7. Work Song (13.26)
8. Comin Home Baby (7.29)
9. Memory Pain (2.50)
10. Got A Mind To Give Up Living (6.40)
11. Walking By Myself (4.28)
12. If You See My Baby (4.08)
38
227
*****
July 1-3, 1966 Cafe Au Go-Go, New York
September 17, 1966 Monterey Jazz Festival, Monterey, CA
September 23-25, 1966 Winterland Ballroom, San Francisco, CA
September 25, 1966 Fillmore Auditorium, San Francisco, CA
September 30, 1966 Winterland Ballroom, San Francisco, CA
September 30, 1966 Fillmore Auditorium, San Francisco, CA
October 1-2, 1966 Winterland Ballroom, San Francisco, CA
Otober 2, 1966 Fillmore Auditorium, San Francisco, CA
October 7-8, 1966 Winterland Ballroom, San Francisco, CA
October 9, 1966 Fillmore Auditorium, San Francisco, CA
October 14-16, 1966 Fillmore Auditorium, San Francisco, CA
November 10, 1966 Marquee Club, Central London, England
December 1966 The Matrix, San Francisco, CA
1966 Fillmore West, San Francisco, CA
1966 Flamingo Club, Central London, England
1966 Le Hibou, Ottawa, Canada
January 20-22, 1967 Fillmore Auditorium, San Francisco, CA
January 27-29, 1967 Fillmore Auditorium, San Francisco, CA
*****
CARLY SIMON
1966. July?
Producer Albert Grossman
Carly Simon, vocals, guitar - Michael Bloomfield, guitar - Robbie Robertson, guitar - Richard Manual, keyboards - Al
Kooper, keyboards - Paul Griffin, keyboards - Rick Danko, bass
1. Baby, Let Me Follow You Down
2. Goodbye, Lovin Man
39
3. ?
4. ?
Unreleased recordings. Carly Simons should have been debut album. It took 5 more years for her to release her first
album. There is no mention in the Carly Simon box Clouds In My Coffee of this session.
In Levon Helm's book with Stephan Davis "This Wheel's On Fire - Levon Helm And The Story Of The Band" Rick Danko
is citet for this: "Before we left New York, we went into the studio with John Court, who was Albert Grossman's business
partner. The Company was called Groscourt Production. They had this singer, Carly Simon, who they wanted to make into
the female Bob Dylan. We cut a couple of things with Carly, like Baby, Let Me Follow You Down, but nothing came of
it".
Its a question if the session took place in the Summer of 1966 or September 1967. Carly Simon is quoted saying she med
with Dylan to write new lyrics to Baby, Let Me Follow You Down one week before he had his mortorcycle accident (late
July 1966).
*****
PAUL BUTTERFIELD BLUES BAND
1966. Sep. 30. Recorded at Winterland, San Francisco, California
Paul Butterfield, vocals, hca - Michael Bloomfield, guitar, vocals 7 - Elvin Bishop, guitar - Jerome Arnold, bass - Mark
Naftalin, organ - Billy Davenport, drums
1. Dropping Out (2.12)
2. Come Back Baby, Please Dont Go (3.46)
3. Our Love Is Driftin (5.30)
4. Born in Chicago (4.39)
5. Willow Tree (6.32)
6. My Babe (4.58)
7. Kansas City (4.21)
8. Work Song (13.34)
An even better recording of BBB live (Im pretty sure this is a soundboard recording). MB is more to the front and his
guitar is more prominent. Butters singing is not the best here. Track (3) has a one-minute intro before the band gets it
together. Willow Tree has fine inspired blues guitar from MB. MBs vocal effort on track (7) lacks the fire and
commitment we are used to from him (he sounds out of key), his playing is superb though. Elvin Bishop does a fine job on
this one too.
Another fabulous live version of Work Song is heard here. It predates The Raga or East-West as the closing tour-deforce, and features all the players at their (almost) best. In the opening licks of the first guitar solo MB stumbles, but he gets
there. When he is warm its like the angels are playing slide. It goes on and on for more than 13 minutes. Great music!
Also featured on the Wolfgangs Vault homepage.
?
1-8 - CD-2 DROPPIN IN WITH THE PAUL BUTTERFIELD BLUES BAND Bootleg
312
*****
*****
40
3,10 - 7 COME ON IN/I GOT A MIND TO GIVE UP LIVING ELEKTRA 45609 (US)
white label for radio stations only
3,10 - 7 COME ON IN/I GOT A MIND TO GIVE UP LIVING ELEKTRA 45609 (US)
Yellow/Black label
3,10 - 7 COME ON IN/I GOT A MIND TO GIVE UP LIVING ELEKTRA EK-45609 (US)
Pink/Black label
3,10 - 7 COME ON IN/I GOT A MIND TO GIVE UP LIVING
LONDON HLZ 10100 ( UK) Yellow lab. promo
300
277
304
1966
3,10 - 7 COME ON IN/I GOT A MIND TO GIVE UP LIVING LONDON HLZ 10100 ( UK)
402
1966
3,10 - 7 COME ON IN/I GOT A MIND TO GIVE UP LIVING ASTOR AP-1320 (AUS)
461
1966
331
1966
196?
1966.Aug.
1966.Aug.
41
1966.Aug.
1966.Aug.
1-9 - LP EAST-WEST ELEKTRA EKS-7315 (UK) Orange label w/Polydor Records Ltd.
003
1966?
003
1966
124
1966
19??
196?
197?
1976
1,2,6,9 - LP-2 GOLDEN BUTTER ELEKTRA 7E-2005 (US) Radio st. copy wh. lab.
177
1976
085
1976
1987
19??
1988
19??
1994
1995
1997
1,3-5,9,10 -CD-2 THE PAUL BUTTERFIELD BLUES BAND AN ANTHOLOGY - THE ELEKTRA YEARS ELEKTRA 62124-2 (US)
1-9 LP EAST WEST SUNDAZED LP 5096 (US)
2001
406
164
079
188
333
*****
42
Butters vocal is very much to the forefront and it sounds strained, like he is trying to make the band play louder or faster.
There is a second vocal on the last chorus on (1). Its good to hear MB sliding away on Elmore James The Sky Is
Crying. There is a lot of yelling from the band during the set. Apparently they feel fine.
Take a minute to tune back up, regular tuning Butterfield(?) says, and thats what it takes. They start on Oh Pretty
Woman like they never had played it before. Butters vocal is not good on this one, and it seems like he has lost interest in
the next song also. Bishop doing the vocals on Never Say No is ok, very, very slow, but ok.
So Fine is a nice pop tune with not So Fine vocals from Jerome Arnold. It takes a minute and a half to test and tune,
before they can get started with East-West. It simply has it all! Unfortunately the track is cut short in the middle of the
bass solo, so its anybodys guess how long they went on! The recording quality is far better than the Winner releases, and
you may wonder why Mark Naftalin doesnt use stuff like this for his releases on his Winner label.
Born In Chicago has been aired on Wolfgangs Vault website.
?
2-7 - CD-2 DROPPIN IN WITH THE PAUL BUTTERFIELD BLUES BAND Bootleg
312
*****
Butterfield Blues Band was on tour in England from mid-October until mid-November 1966.
When they arrived in London a press conference was held at Ronnie Scott's Club on October 17.
They were part of the Georgie Fame - Chris Farlowe package tour.
The Tito Burns/Harold Davidson package tour dates were advertised in the NME as:
20-Oct (Thu) - Astoria, Finsbury Park
21-Oct (Fri) - Odeon, Birmingham
22-Oct (Sat) - Odeon, Leeds
23-Oct (Sun) - Gaumont, Doncaster
25-Oct (Tue) - Odeon, Manchester
26-Oct (Wed) - Odeon, Liverpool
27-Oct (Thu) - Gaumont, Sheffield
28-Oct (Fri) - Colston Hall, Bristol
29-Oct (Sat) - Gaumont, Southampton
31-Oct (Mon) - Odeon, Cheltenham
01-Nov (Tue) - Odeon, Bolton
02-Nov (Wed) - A.B.C., Carlisle
03-Nov (Thu) - Odeon, Glasgow
04-Nov (Fri) - Odeon, Newcastle
05-Nov (Sat) - Gaumont, Hanley
06-Nov (Sun) - Odeon, Leicester
There were 2 performances on each date usually at 6 PM & 8 PM.
Georgie Fame with the Georgie Fame Band took top billing, followed by Chris Farlowe & the Thunderbirds. Butterfield's
Blues Band was billed next as "Guest Stars from Chicago." Also appearing were the Eyes of Blue and Geno Washington &
the Ram Jam Band.
Finally Eric Burdon & the New Animals were at the bottom of the bill, but billed as "Extra Special Guest."
The compere/host was Peter Stringfellow.
*****
After the package tour the BBB had its own little tour of UK:
Blaises Club, South Kensington, London, November 9
Marquee Club, London November 10, 90 Wardour St. w/Wynder K. Frog
A short review of this show was brought in the Melody Maker magazine.
Manchester University and The Jigsaw Club, Manchester November 12
Ram Jam Club, Brixton November 13 (two shows at 3 & 7 pm) 2nd show w/Carl Douglas Set
Cooks Ferry Inn, Angels Road, Edmonton November 14
TV show Ready Steady Go! recorded on November 15, and aired November 18
Ritz and Plaza, Birmingham November 16
Ritz, Skewen, November 17
Refectory, Golders Green and London's Flamingo, November 18
43
Barry Goldberg, keyboards, vocals Michael Bloomfield, guitar Frank Zappa, guitar - + dr? bass ?
1. Carry On (2.45)
2. Ronnie Siegel from Avenue L (2.15)
Barry Goldberg
1967
1967
533
"I played the chords, and Bloomfield played the screeches. And they made this rhythm and blues
record, which has a lot of words in it like 'baby'. But I'm sure it's very excellent. Maybe it doesn't even
have the words in it like 'baby'. Maybe they got something psychedelic like 'mama'." --FZ, 12/22/66
Track 2 was recorded on Jan. 15, 1967.
*****
44
059
1996
163
*****
Butterfield Blues Band played Boston's Jordan Hall on January 15, 1967 together with Otis Rush who played there for the
whole week.
*****
Jan. 15, 1967 Jordan Hall, Boston - Butterfield Blues Band / Otis Rush
Jan. 20,21,22** 1967 Fillmore Auditorium -- Butterfield Blues Band / Charles Lloyd
Jan. 27,28,29** 1967 -- Fillmore Auditorium -- Butterfield Blues Band / Charles Lloyd
** = 2 pm afternoon (Sunday-) shows
*****
JEFFERSON AIRPLANE
1967. Jan. 8. Live at Webster Hall, NYC
Jefferson Airplane: Jorma Kaukonen, guitar Jack Casady, dr. - with Michael Bloomfield, guitar 4,5 vocals 4 - Mark
Naftalin, organ 4,5
1. This Is My Life (0.58) (fragment)
2. Go To Her (4.09)
3. 3/5 Of A Mile In 10 Seconds (4.59)
4. Reconsider Baby (4.57)
5. East West (17.24)
An audience recording from the Jefferson Airplanes New York debut concert. MB and Naftalin is called up to jam. The
historic value is greater than the quality of the recording. MB plays some fine guitar and blends excellent in with the
Airplane.
1967
475
*****
PAUL BUTTERFIELD BLUES BAND
1967. Jan/Feb. Recorded live at the Golden Bear, Huntington Beach, California
Paul Butterfield, hca - Michael Bloomfield, guitar - Elvin Bishop, guitar - Mark Naftalin, keyboards - Jerome Arnold, bass Billy Davenport, dr
1. Tollin Bells (3.22)
2. Come On in This House (5.05)
3. Born in Chicago (4.06)
4. East-West #3 (28.06)
45
The date Winter 1967 has to be January or February, because MB left BBB in February 1967. MB founded Electric Flag
in early 1967 and they had their live debut at the Monterey Pop Festival in June.
Almost half an hour of East-West! Lucky people who have experienced that live. Of the three versions, this sounds most
like the recorded version. Unfortunately there is a lot of distortion, but still its a great recording. MB at his best. Elvin
Bishop also plays his best on this one. Great opening and after a little more than 4 minutes MB goes berserk. I guess the
duration of the number depended on MBs mood that particular day. This day he certainly was in the mood for playing!
Mark Naftalin:
Michael left the group in February of 1967. The live version of "East-West" that you inquired about was recorded in 1967,
before Michael's departure. Winter 1966 was when the studio album "East-West" was recorded. You can see how much the
piece developed between then and the time of "East-West, Live Version #3."
1995
059
1996
163
*****
February 25, 1967 - The Butterfield Blues Band at Sargent Gym, Boston University
*****
JAMES COTTON
1967. Mar.24. Recorded in NYC - Producers Barry Goldberg, Michael Bloomfield and Norman Dayron
Prod. supervisor: Jerry Schoenbaum
James Cotton, hca, vocals - Alberto Gianguinto, piano - Robert Anderson, bass, vocal - Luther Tucker, lead guitar - Samuel
Lay, dr - Also: James F. Barge, tenor sax - Paul Serrano, trumpet - John M. Watson, trombone - Delbert L. Hill, baritone
sax - McKinley Easton, baritone sax - Louis E. Satterfield, trombone MB is not credited, but maybe?: Michael Bloomfield, guitar 8,10,11
1. Good Time Charlie (2.46)
2. Turn On Your Lovelight (2.31)
3. (Theres) Something On Your Mind (3.52)
4. Dont Start Me Talkin (2.40) (single (2.36) but (2.49) on label)
5. Jelly, Jelly (5.42)
6. Off The Wall (2.40)
7. Feelin Good (3.14) (single (3.10) but (2.59) on label)
8. Sweet Sixteen (5.35)
9. Knock On Wood (2.56)
10. Oh Why (2.15)
11. Blues In My Sleep (5.20)
The liner notes to the 1995 CD tells us that Norman Dayron later released some of the tracks without the horn section.
The Intermedia LP and the Tomato and the identical Pilz CD from 1993 include some tracks recorded in 1963 with James
Cotton, Paul Butterfield and William Billy Boy Arnold on hca and Elvin Bishop on guitar: South Side Boogie - So
Glad Youre Mine - Diggin My Potatoes - V-8 Ford Blues - Dolly Put The Kettle On.
1967
1,6 - 7 GOOD TIME CHARLIE/OFF THE WALL VERVE KF 5053 (US) DJ record
381
1967
263
1967
1967
299
1967
1-11 - LP THE JAMES COTTON BLUES BAND VERVE/FOLKWAYS FVS 9507 (D)
127
1982
46
1993
125
1993
072
1995
2 - CD APRIL 1995 NEW RELEASES THE VERVE GROUP VERVE SACD 976-2 (US)
264
1995
1-11 - CD BEST OF THE VERVE YEARS VERVE 314 527 371-2 (US)
1995
060
*****
EDDIE CLEANHEAD VINSON
1967. Mar.
Producer Bob Thiele Recorded in New York
Eddie Cleanhead Vinson, vocals, sax - Michael Bloomfield, guitar - Buddy Lucas, tenor sax, hca 4 - Patti Brown, piano,
organ 3,10 ? dr. - ? bass
1. Cherry Red (3.09)
2. Cadillac Blues (2.59)
3. Juice Head Baby (3.08)
4. Alimony Blues (3.27)
5. Somebodys Got To Go (3.03)
6. Flat Broke Blues (2.26)
7. Old Maid Got Married (2.43)
8. Workin Blues (2.50)
9. Wee Baby Blues (3.00)
10. Goodnight Baby Blues (5.02)
11. Juice Head Baby (3.13) single
12. Alimony Blues (2.34) single edit
A great blues record. MB is playing all over the tracks and the outstanding one is Alimony Blues with a great sax solo
and guitar solo (cut out on the single!). Eddie Cleanhead Vinson was known as a saxophone player, but only when he
started to sing did he get a deserved success.
1967?
492
1967?
493
1967
1-10 - LP CHERRY RED BLUESWAY/ABC BL-6007 (US) White label promo mono
087
1967
494
1967
1967
303
199??
153
*****
Mar. 27, 1967 - Butterfield Blues Band Westbury Music Fair, Westbury, NY with Bloomfield??
*****
MITCH RYDER (William S. Levise, Jr.)
1967. Mar.
Recorded at Mira Sound Studio, Sound Center and Bell Sound, producer Bob Crewe
Mitch Ryder, vocals - Michael Bloomfield, guitar (perhaps only on 6-10) - Barry Goldberg, organ - Hugh McCracken,
guitar - Carmine Riale, bass - John Siomos, drums
47
1. Let It Be Me (3.19)
2. I Make A Fool Of Myself (4.00)
3. Born To Lose (3.24)
4. If You Go Away (4.51)
5. What Now My Love (4.22)
6. Whole Lotta Shakin Goin On (3.11)
7. Sally Go Round The Roses (3.29)
8. Brown-Eyed Handsome Man (3.06)
9. I Need Lovin You (2.46)
10. Thats It, I Quit (3.18)
11. Blessing In Disguise (3.05)
12. Devil With The Blues Dress On/Good Golly Miss Molly (3.02)
This was the first solo effort from Mitch Ryder after producer Bob Crewe had fired Ryders group The Detroit Wheels,
trying to make a big star out of Mitch Ryder.
There are no credits at all, but MB is audible on tracks (6-10). In an interview from 1971 (the Dan McClosky interview),
MB tells the story about how he met Buddy Miles. It was during this session where he and Barry Goldberg were playing,
and Wilson Pickett was in town (at Murray the Ks concert series) and his drummer, who turned out to be Buddy Miles,
fascinated them. It was more or less The Chicago Loop backing Mitch here.
Barry Goldberg also played on Mitch Ryders big hit from the previous year, Devil with a Blue Dress On/Good Golly
Miss Molly. It has some full-throttle guitar that absolutely screams MB, but no mention has been made anywhere of
Bloomfield playing on Mitch Ryder material before the 1967 session. The IN Sound LP has also a very brief interview
with Mitch Ryder.
The almost complete Mitch Ryder CD-2 from 1997 omits the B-side of the single.
1967
198
1967
211
1972
12 7 DEVIL WITH THE BLUE DRESS/GOOD GOLLY MISS MOLLY/(JENNY TAKE A RIDE)
VIRGO GOLDEN MEMORIES SERIES VO 6921 (US)
1967.Jun.?
035
1966. Nov.
379
1967
187
1997
1-10 - CD-2 Mitch Ryder: AN ULTIMATE ANTHOLOGY WEST SIDE SESD 202 (UK)
50 tracks in all.
*****
196
Butterfield Blues Band and Bloomfield(?) and Cream played Cafe Au Go Go on Bleeker St. April 11, 1967
It was the night where BB King, Clapton and Elvin Bishop jammed together. No trace of MB.
*****
THE ELECTRIC FLAG
1967
Producer John Court
Michael Bloomfield, guitar - Barry Goldberg, keyboards - Harvey Brooks, bass - Buddy Miles, dr, percussion - Nick
Gravenites, vocal, guitar - Marcus Doubleday, trumpet, flugelhorn - Peter Strazza, tenor sax - Paul Beaver, moog synthesizer - Bob Notkoff, electric violin
1. Peters Trip (2.32)
2. Joint Passing (1.04)
3. Psyche Soap (0.52)
4. M-23 (1.12)
m/MB
m/MB
m/MB
48
5. Synesthesia (1.45)
6. A Little Head (1.44)
7. Hobbit (1.08)
8. Inner Pocket (3.35)
9. Fewghh (0.58)
10. Green And Gold (2.45)
11. The Other Ed Norton (2.51)
12. Flash, Bam, Pow (1.26)
13. Home Room (0.52)
14. Peter Gets Off (2.23)
15. Practice Music (1.25)
16. Fine Jung Thing (7.25)
17. Senior Citizen (2.56)
18. Gettin Hard (4.02)
19. The Trip Radio spot (1.00)
m/MB
m/MB
m/MB
m/MB
m/MB
m/MB
m/MB
m/MB
m/MB
m/MB
m/MB
m/MB
m/MB
m/MB
This is a pretty interesting soundtrack made to one of the worst films ever made. The soundtrack was recorded just prior to
the Flags debut at The Monterey Pop Festival.
The movie had its Danish premiere in January 1968 titled LSD. In the film credits the band is called: The American
Music Band. Apparently they havent decided a name yet or bought the electric flag, which gave them a name!
The Curb Recirds CD has been cleaned for all suggestive titles! Check for yourself!
The radio spot has a little music in the background.
1967
483
1967
1,10 - 7 PETERS TRIP/GREEN AND GOLD SIDEWALK 929 (US) yellow lab.
501
1967
144
1967
437
1967
1967
452
1978
033
1996
49
Bloomfields address to the crowd is also seen in the Monterey Pop Festival movie: Were really nervous, but we love you
all, man! 'Cause this is very groovy, man! Monterey is very groovy, man! This is something, man! This is our generation,
man! All you people, were all together, man! Its groovy and dig yourselves, cause its really groovy! No Pulitzer prize
here, man.
His introduction of The Byrds goes like this: The musicians that are playing rock n roll, they know they know where
youre at, they know where your minds at. They are playing for you, to you, and like the Beatles and other groups, you
know, the music will get to you and reach you, and the colors will flash, the sounds will embrace you. Its beautiful, its
The Byrds!
John Phillips introduction of The Electric Flag: You are going to hear a man whom I think is one of the two or three best
guitar players in the world. And you are going to hear some people that he thinks are one of the best bands in the world.
And I do to. You can hear an awful lot of it, and its called The Electric Flag.
Unfortunately this live recording does not sound good. Track (2) has some feel to it when MB plays his solo, but Gravenites
sounds nervous and does not reach the high hes used to when he sings with his wonderful voice. Buddy Miles is even
worse. This was the live debut for the band and it is of course interesting to hear for historic reasons. Footage of 1-6 exists.
1988?
123
1989
1991
1992
308
1992
217
1994
1994
4 - CD BEAUTIFUL PEOPLE: IF THE 60S WERE 90S CASTLE ESS CD 200 (UK)
1995
179
1997
436
*****
The Electric Flag used Fender instruments and amplifiers!
*****
50
dr, percussion, vocals - Peter Strazza, tenor sax - Marcus Doubleday, trumpet, percussion - Richie Havens, sitar, percussion
- Paul Beaver, moog synthesizer - John Court, percussion - Joe Church, percussion - Shoeshine Vocal Quartet, background
vocals - Bloomfields and Courts (incl. Mama Cash on 2?), background vocals - Strings: Bob Notkoff (solo violin), Julius
Held, Leo Daruczek, George Brown, Charles McCracken - President Lyndon B. Johnson, speech 1
1. Killin Floor (4.11) Rec. January 1968
2. Groovin Is Easy (3.05) Rec. July 1967
3. Over-Lovin You (2.10) Rec. July 1967
4. She Should Have Just (5.04) Rec. Sept. 1967
5. Wine (3.15)
6. Texas (4.48) Rec. Jan. 1968
7. Sittin In Circles (3.53) Rec. Sept. 1967
8. You Dont Realize (4.58) Rec. Sept. 1967
Dedicated with great respect to Steve Cropper and Otis Redding
9. Another Country (8.46) on Old Glory (4.04) Rec. Jan. 1968
10. Easy Rider (0.50) on Old Glory (5.32) Rec. Jan. 1968
11. Look Into My Eyes(2.57)
12. Goin Down Slow (4.45) Rec. July 1967
13. Sittin In Circles (4.16) alt. version Rec. Sept. 1967
m MB
Groovin Is Easy was the very first track recorded. For some odd reason Nick Gravenites is not mentioned on the original
LP release as vocalist!? Only on the CD release was his name added, and then only under percussion!? Strange. (9 and
10) have new timings on the CD Old Glory.
On the US promo singles of (2,3) only MB is credited as composer to "Over-Lovin' You" On the UK promo both MB and
Goldberg is credited.
The CD reissue from Columbia with bonus tracks has 14 tracks in all. Two tracks (Sunny and Mystery) are from the
album without MB. The bonus track Goin Down Slow is a gem. The reason for not including it on the initial release
must be that it is a slow blues without much horn and this way not a band number (its from the bands very first session).
Nick Gravenites sings beautifully and MB plays heavenly. The other bonus, Look Into My Eyes with Buddy Miles on
vocals, is a big band production, but not up to the standard of the original tracks, so excluding it was an ok decision. Its
probably from the second album session without MB (he is not audible).
The CD GREATEST HITS COLUMBIA COL 471837-2 (AUT) also includes 9 tracks from the Electric Flag album An
American Music Band , that MB did not take part in.
1968. Mar
233
1968. Mar
283
1968. Mar
371
1968. Mar
449
1968
1968
1,5 7 WINE/KILLIN FLOOR CBS 3444 (D) Pic. cover multi colored vinyl
1968. Mar.
136
1968. Mar.
1-10 - LP A LONG TIME COMIN COLUMBIA CS-9597 (US) wh. lab. promo
Special Mono Radio Station copy time sticker on front cover
359
1968. Mar.
008
1968. Mar.
1968. Mar.
098
51
1968
282
1968
028
1968
068
1970
1970
076
1970
326
1971
407
1971
176
1971
495
1971
7 - LP BLASTS FROM MY PAST BUDDAH 2318 038 (UK) Best of Barry Goldberg
210
1972?
365
1974
056
1974
1975
1983
1983
024
1984
1-4,8 - LP THE BEST OF THE ELECTRIC FLAG CBS BACK-TRAC P-17721 (US)
058
1989
053
1989
1992
276
1993
3.198
1993
(US)
1994
199?
199?
1995
179
1998
321
1995
034
079
095
52
2002?
2020?
2002
2003
507
2007
1-10 CD THE ELECTRIC FLAG SPV YELLOW 49642 (D) (incl. the 2nd LP too)
500
2008
518
*****
Aug. 8, 9, 10, 1967 -- Fillmore Auditorium -- Electric Flag / Moby Grape / Southside Sound System
Aug. 11, 12, 13, 1967 -- Fillmore Auditorium -- Electric Flag / Steve Miller Band / Southside Sound System
Aug. 29, 30, 31, 1967 -- Fillmore Auditorium -- Electric Flag / Cream / Gary Burton
Sept. 1, 2, 3, 1967 -- Fillmore Auditorium -- Electric Flag / Cream / Gary Burton
Sept. 14, 15, 16, 1967 -- Fillmore Auditorium -- Electric Flag / Mother Earth / LDM Spiritual Band
*****
THE ELECTRIC FLAG
1967. Sep.
Live at the Psychedelic Supermarket, Boston, MA
Michael Bloomfield, guitar - Harvey Brooks, bass - Buddy Miles, drums, vocals - Barry Goldberg, organ - Peter Strazza,
tenor sax - Marcus Doubleday, trumpet - Nick Gravenites, vocals, percussion - Herbie Rich, baritone sax
1. Dont Want No Soul Around My House (When Im Not at Home) (9.30)
From a CD with various recordings featuring Harvey Brooks with Jimi Hendrix and Butterfield Blues Band 1968 and 1981.
The cover states that the Electric Flag recording is from 1966, but the band was first formed in 1967.
1999
208
*****
THE ELECTRIC FLAG
1967. Sep.
Live at the Psychedelic Supermarket, Boston, MA
Michael Bloomfield, guitar - Harvey Brooks, bass - Buddy Miles, drums, vocals - Barry Goldberg, organ - Peter Strazza,
tenor sax - Marcus Doubleday, trumpet - Nick Gravenites, vocals 1-3, percussion - Herbie Rich, baritone sax, vocals 13?
1. Killing Floor (5.00)
2. Goin Down Slow (5.57)
3. Messin With The Kid (3.01)
4. Groovin Is Easy (4.51)
5. Good To Me (5.40)
6. Sweet Soul Music/Keep A Knockin/Things I Used to Do (7.42)
7. Fannie Mae (4.00)
8. Drivin Wheel (4.18)
9. Born Under a Bad Sign/Raise Your Hand (10.00)
10. Sitting in Circles (5.00)
11. Another Country (8.46)
12. Your Love Keeps Lifting Me Higher (Higher And Higher) (3.56)
13. Electric Flag Medley/Im Sick Yall (3.38)
14. Ive Been Lovin You Too Long (10.52)
53
214
291
*****
THE ELECTRIC FLAG
1967. Oct. 1-5. San Francisco, KGO-TV Studio
Recordings for The Sights and Sounds of San Francisco. Electric Flag, Buffalo Springfield, Blue Cheer, Richie Havens
appeared. Aired on September 8, 1969. The songs are not known.
*****
Dec. 7, 1967 -- Fillmore Auditorium -- Electric Flag / The Byrds / B.B. King
Dec. 8, 9, 1967 -- Winterland -- Electric Flag / The Byrds / B.B. King
*****
THE ELECTRIC FLAG
1967. Dec.
Movie produced by Peter Yarrow and Barry Feinstein
Record produced by Peter Yarrow, John Simon and Phil Ramone
John Simon, organ 1,3 - Wurlitzer piano 6,8 - harpsichord 13 electric piano 2 - piano 11,14, vocals 1,8,12 - back-up vocal
6 - moog, ondiolin 1,4,15,16 percussion 4 - Michael Bloomfield, guitar 15-16 - Harvey Brooks, bass 15-16 - Buddy Miles,
drums, vocals 15-16 - Barry Goldberg, organ 15-16 - Marcus Doubleday, trumpet 15-16 - Nick Gravenites, vocals, perc. 1516 - Herbie Rich, tenor sax 15-16 - Stemsie Hunter, alto sax 15-16 - Paul Butterfield, hca 10 - Tiny Tim, vocals 5,9 - The
Hawks (The Band): Robbie Robertson, guitar Garth Hudson, organ Richard Manuel, piano Rick Danko, bass Levon
Helm? dr 5,9 - Peter Yarrow, vocals, guitar 1-3,12,13 percussion 4 back-up vocals 6 - Rosko, narration 1 and between
tracks - Hamsa El Din, uood 7 - John Herald, vocals 6 - Eleanor Baruchian, vocals 9 - Bill Crow, bass 1,3,6,8,10-12,14
Bill Lavorgna, dr 1,6,8,11,14 - ? guitar 3,4,8,10,11,14 Marvin Stamm? trumpet 14 Artie Koplan? tenor sax 14 Paul
Griffin, Wurlitzer piano solo 8, organ 10,12 Al Gorgoni, guitar 4 Nancy Pliday, vocals 1 1. Teenage Fair (Helmet Commercial)
2. Moments Of Soft Persuasion
3. Silly Girl
4. Desert Moog Music
5. Be My Baby
6. The Family Dog
7. The Nude Dance
8. My Name Is Jack
9. I Got You Babe
10. You Are What You Eat
11. Beach Music
12. The Wabe
13. Dont Remind Me Now of Time
14. Painting For Freak out (1.43)
15. Freak Out (6.44)
16. Movie Music-Improvisation (3.55)
54
The tracks by Electric Flag were recorded during the sessions for the first album (The Trip).
In 1967, John Simon engaged The Hawks to work on the soundtrack for Peter Yarrow's (of Peter, Paul and Mary fame)
weird "Rockumentary" movie You Are What You Eat. Earlier in the year, Bob Dylan had met the freakish falsetto singer
Tiny Tim and invited him to Woodstock. Tiny Tim was let loose by John Simon to do pop classics like the Ronettes "Be
My Baby" and Sonny and Cher's "I Got You, Babe" for the movie soundtrack. All he needed was a band, which was how
the Hawks found themselves playing behind another front man - the strangest yet - before breaking out on their own as The
Band.
Track (14) could be looked at as a rehearsal for track (15), but apparently its not. The guitar player is unknown and one
might think that it could be MB, but its probably not (there is unknown guitar and 2nd guitar on many tracks. The
drummer for The Hawks track is also listed as unknown.
Track (15) Freak Out is really weird. The stereo effect is used to go from one channel to the other and back, in a way that
almost hurts your ears. There are a lot of noises, from the beach, ambulances, and moogs and so on. On record its not
memorable, but in the movie it might have been OK? Track (16) is taken from the movie sound track and is not on the LP.
The label has the usual Columbia label layout, but instead of the normal red color it is grey.
The precise who played on what" is taken from the Japanese CD released in 1997. It also has an interview with John
Simon included in the liner notes.
1969
1-15 - LP YOU ARE WHAT YOU EAT COLUMBIA OS-3240 (US) stereo
223
1969
1-15 - LP YOU ARE WHAT YOU EAT COLUMBIA CK 3240 (US) mono
1969
1-15 LP YOU ARE WHAT YOU EAT COLUMBIA 70045 (UK) mono
19??
228
1995
179
1997
ELECTRIC FLAG
1967. Dec.7. Recorded live at Fillmore West, SF
Michael Bloomfield, guitar, vocals 5 - Nick Gravenites, percussion, vocals 3,4,8 - Harvey Brooks, guitar, bass, percussion Barry Goldberg, keyboards - Herbie Rich, keyboards, tenor sax, baritone sax - Buddy Miles, dr, percussion, vocals 1,2 Peter Strazza, tenor sax - Marcus Doubleday, trumpet, percussion ? vocals 6 & 7??
1. Uptight (4.41)
2. Texas (7.26)
3. Killing Floor (4.52)
4. Sittin In Circles (5.38)
5. Directly From My Heart To You (6.46)
6. Born Under A Bad Sign (9.32)
7. Rock Me Baby (4.59)
8. Messin With The Kid (2.22)
An integrated, aesthetic American music band The Electric Flag is the introduction by Bill Graham. An OK recording
quality compared with other Flag bootlegs, this concert seems to have been one of the better days for The Flag live. There
is some fine playing from MB throughout the recording. The proceedings start with Buddy Miles wailing the vocals to
Uptight while hammering away on the drums. It has nice solos by MB. It runs into Texas with fine MB playing during
the long intro with a screaming Buddy Miles. During the short pause between tracks (2) and (3) Gravenites(?) is testing,
55
testing the microphone. Nick Gravenites does a fine job on Killing Floor, but the horn opening is terrible (some of it
might be due to the low quality of the recording, but the horns sound out of tune, and it sounds like they are speeding up
during the song). Track (4) is OK with Gravenites handling the vocals. He is drowned here and there but the overall
impression is good. No solo from MB but a little doodling here and there.
Before track (5) MB is strumming and trying out, before he counts in and tears into a great intro. When the vocalist (is it
really MB?? Yes, it is) starts to sing, the whole song falls on the floor. A terrible vocal track, but it has fine guitar playing.
On tracks (6 & 7) a new vocalist is taking over. Who could it be? On track (8) Gravenites is back on a short version that
almost fades out before it gets started.
The Vault had tracks (8 (and 5)) in full length at their website.
The timings include strumming and applause.
1967
322
*****
THE ELECTRIC FLAG
1967. Dec.8. Live at the Winterland, San Francisco
Michael Bloomfield, guitar - Harvey Brooks, bass - Buddy Miles, drums, vocals 2?,3,8 - Barry Goldberg, organ - Peter
Strazza, tenor sax - Marcus Doubleday, trumpet - Nick Gravenites, vocals 4-7 percussion - Herbie Rich, baritone sax,
vocals 2?
1. Intro (0.36)
2. Electric Flag Medley/Im Sick Yall (3.24)
3. Drivin Wheel (5.09)
4. It Takes Time (4.53)
5. Groovin Is Easy (4.16)
6. Goin Down Slow (5.56)
7. Another Country (7.57)
8. Over-Lovin You (3.11)
The quality of this bootleg is not good. Its only a little bit better than the Psychedelic Supermarket CD. Unfortunately, the
screaming Buddy Miles is taking the lead vocals on the first two tracks, leaving the talented Nick Gravenites to be only a
percussionist. What a shame.
It opens with a short intro (maybe its a tape and not even The Flag?) and an even shorter spoken introduction, then theres
the usual strumming and then comes the real introduction talking about Saturday evening at The Grand Ole Opry(?).
On track (3) MB is wailing on his guitar, nice stuff that burns through the bad recording quality. Track (4) starts with MB
giving it all and Nick Gravenites on top form. Goin Down Slow has again MB and Gravenites united in a great performance. On track (7) MB engages in some weird space-like guitar, trying to get the sound from the album. When he is
past that heavy part the very quiet part follows and it sounds good here, and he comes back with fire. Last track is another
terrible Buddy Miles vocal and the horns sound terrible too, much might be due to the low quality of the recording.
1967
215+322
*****
Jan. 25, 1968 Fillmore Auditorium - Electric Flag / Big Brother & The Holding Co. / Youngbloods
Jan. 26, 27, 1968 - Winterland - Electric Flag / Big Brother & The Holding Co. / Youngbloods
*****
MOBY GRAPE
1968. Jan.16-Feb. 13. Recorded during Moby Grapes Wow session - producer David Rubinson
Jerry Miller, guitar 1-5 - Skip Spence, guitar 1, piano 2 - Bob Mosley, bass 1-5 vocal 1 - Don Stevenson, dr 1-5 - Al
Kooper, piano 3 - Michael Bloomfield, piano 4 - Peter Lewis, guitar?
56
1. Never (6.11)
2. Boysenberry (6.00)
3. Black Currant Jam (7.13)
4. Marmalade (13.51)
5. The Lake (4.04)
From the booklet to CD release in 2007, by Gene Sculatti:
The band, with Bloomfield or Kooper on occasional keyboards, put away some 20-plus hours of music. "I don't think we
even knew they were recording us some of the time," says drummer Don Stevenson, "but the whole thing was a really good
idea."
"Those sessions were mostly me and Bloomfield and Kooper, and Don and Bob Mosley," says Miller. "We ran through all
sorts of songs; we even did 'Bags' Groove' [MJQ vibist Milt Jackson's title cut to Miles Davis' 1954 album]. And we did
some stuff with Fred Lipsius, who played sax with Blood, Sweat & Tears." ("Bags' Groove" is one of three previously
unissued extra tracks on this edition of Grape Jam.)
"I played on all the cuts that made it to the album," says bassist Bob Mosley. That would include the album opener, "Never,"
the only track that features singing (we'll get to the set-closing "The Lake" in a minute). A steady, slow-burn blues in a
relaxed B.B. King style, "Never" assumes a certain stateliness that proves that the Grape's arranging abilities weren't
something they called on just for their pop material. Mosley remains restrained throughout, there's tons of open space, and
Stevenson anchors the track like the south pylon of the Golden Gate. It's a clean, well-cut track.
"Boysenberry Jam" opens with guitar and piano, Miller alternately playing elongated blues lines and shorter, more incisive
stabs. Again thanks to Stevenson and Mosley, the track holds firm even as the rhythm steadily picks up. Then everyone pulls
back, and the piano takes the foreground, only long enough for a flurry of drum rolls, cymbals and guitar feedback to slide
in and begin deconstructing the six-minute piece. In its timing and sense of musicians instinctually heeding each other's cues
(and keeping out of one another's way), "Boysenberry Jam" achieves something rare in rock: the genuine improvisatory feel
of the best jazz performances.
"Black Currant Jam" isn't altogether that different, though it proceeds along a more muscular Memphis/Booker T. & the
MGs path (with Kooper on piano) and thickens up into a Traffic-like stew midway through. At 14 minutes, "Marmalade"
wins marathon honors. Bloomfield's the star here, at the piano, hitting some sustained single-notes and never succumbing to
flashiness. A mid-song breakdown lets the music resume at a slower tempo and brings the guitar in for some action.
Which brings us to the program-closing "The Lake." "Oh, that was the worst!" exclaims David Rubinson. "That was [early
Grape manager Matthew] Katz's idea. He went to [San Francisco Top 40 station] KFRC and got them to hold a contest,
where the winner would have his lyric or poem put to music on the next Moby Grape album. A guy named Michael
Hayworth won. At the time, I remember, we were rehearsing for the Wow album at this big house in Malibu, hanging with
Buffalo Springfield. We got this quarter-inch tape of the winning entry, which KFRC management had selected, and God!
We had to record it, but we didn't want it on the real album, so it wound up on Grape Jam." (I remember the contest too; a
friend's teenage brother had likewise submitted a lyric. Sadly, his epic -- the only line I can recall is "chimneys suspended by
thread" -- couldn't hold a candle to Hayworth's "Slip through the green velvet soundlessly slowly.")
No Bloomfield on the three bonus tracks on the CD.
1969
1-5 - LP GRAPE JAM COLUMBIA MGS-1/CXS 3 (US) wh. lab. promo w/timing strip
205
1969
178
1969
041
2007
*****
THE ELECTRIC FLAG
1968. Jan.26. Recorded live at Fillmore Auditorium
57
Michael Bloomfield, guitar - Harvey Brooks, bass - Buddy Miles, drums, vocals 5-9 - Barry Goldberg, organ - Peter
Strazza, tenor sax - Marcus Doubleday, trumpet - Nick Gravenites, vocals 2-4, percussion - Herbie Rich, baritone sax,
vocals? 1
1. Sweet Talkin Woman (4.27)
2. She Should Have Just (4.49)
3. Messin With The Kid (3.14)
4. Goin Down Slow (4.41)
5. The Night Time Is The Right Time (5.07)
6. Ive Been Lovin You Too Long (5.04)
7. Hold On Im Coming (3.15)
8. You Dont Realize (4.20)
9. Sweet Soul Music/Keep A Knockin/Things I Used To Do/Fannie Mae (9.33)
The vocalists are hard to recognize as the recording has a lot of background noise. Its a shame most of the Electric Flags
live recordings are in such a bad quality. This one sounds like it was one of the better live dates, if only the recording had
been better.
1968. Jan.
1-9 TAPE THE ELECTRIC FLAG LIVE AT FILLMORE JANUARY 26, 1968
349
*****
Electric Flag at Shrine Auditorium February 10, 1968
*****
THE ELECTRIC FLAG
1974
Studio recordings (1-5) are outtakes from 1974, recorded in Florida.
1968
Live recordings (6-9) from San Jose, California
Personnel on studio tracks (1-5) presumably: Michael Bloomfield, guitars 1?,2,5, piano 3? ? vocals on track 5? - Buddy
Miles, dr, vocals 1 - Nick Gravenites, guitar, vocals 2-4 - Barry Goldberg, keyboards - Roger Jellyroll Troy, bass - Guest
artists: Richard Newell, hca - The King Biscuit Boy, hca 2,3 - George Terry, guitar, slide guitar - Richard Tee, keyboards Albhy Galuten, keyboards - Barry Beckett, mellotron & moog - Nick Marrero, percussion - The Bonnaroo Horns (dir. Peter
Graves) - The Muscle Shoals Horns (dir. Barry Beckett) (info taken from LP THE BAND KEPT PLAYIN)
Personnel on live tracks (6-9) presumably: Michael Bloomfield, guitar 6-9 - Nick Gravenites, vocals 6,9 - Buddy Miles, dr,
vocals 7,8 - Barry Goldberg, piano, organ - Harvey Brooks, bass - Peter Strazza, tenor sax - Marcus Doubleday, trumpet Herbie Rich, tenor sax, baritone sax
1. Spotlight (3.43)
2. I Was Robbed Last Night (4.39)
3. I Found Out (3.08)
4. Never Be Lonely Again (3.34)
5. Losing Game (3.17)
6. My Baby Wants To Test Me (8.17)
7. Killing Floor (4.04)
8. You Dont Realize (5.08)
9. Groovin Is Easy (4.22)
outtake 1974
outtake 1974
outtake 1974
outtake 1974
outtake 1974
live 1968
live 1968
live 1968
W/M MB
live 1968
The LP is subtitled The Electric Flag - Live! The only tracks recorded live are (6-9), the other tracks (1-5) are faded out
and they are outtakes from the 1974 album. MB is credited as composer and writer for all the tracks (which he is not).
An excellent recording of The Flag in the studio (1-5) and anohter excellent recording at work (6-9)! There are some fine
guitar from MB, whos not audible on all the studio tracks. Track (6) has really great playing from MB. The live vocals (69) are perhaps not the best (you can actually notice the level is dropped af few minutes into track (6) when Gravenites starts
singing) still this is one of the best Electric Flag live recordings around. A very fine harmonica is heard on (2,3). The fine
slideguitar on track (5) could be George Terry doing his best, maybe he also is the vocalist? Track (7) is called: I Should
Have Left Her on the CDs.
This material has become fair game for anybody wanting to cash in on the Electric Flag name, and new issues appear
frequently.
58
1983
19??
1993
1993
1995
199?
023
219
1997
1999
289
045
1998
1999.Nov.
2 - CD "RAW BLUES"
2000
1-9 - CD ELECTRIC FLAG I FOUND OUT DRESSED TO KILL METRO 472 (UK)
2002. Jan.
2004
460
*****
The Electric Flag played Sweetwater on February 8, 1968
*****
JAMES COTTON Blues Band
1968. Feb.20. Recorded in NYC - Producer John Court
James Cotton, hca, vocals - Luther Tucker, guitar, vocals 4 - Alberto Gianquinto, keyboards, storytelling 9 - Robert
Anderson, bass, vocal 8 - Francis Clay, dr - John Court, tambourine - Michael Bloomfield, advice and enthusiasm (and
guitar throughout?)
1. Soul Survivor (2.25)
2. I Remember (4.24)
3. Worried Life Blues (3.06)
4. Fallin Rain (4.22)
5. Heart Attack (5.04)
6. Lovin Cup (3.56)
7. Shes Murder (2.32)
8. Somethin You Got (3.25)
9. Whos Afraid of Little Red Riding Hood? (4.18)
10. The Creeper (6.10)
11. Down at Your Buryin (4.35)
MB is not credited for playing, but for Advice and Enthusiasm.
1968
424
59
1968
279
1968
122
1995
1,4-7,10,11 - CD THE BEST OF THE VERVE YEARS VERVE 527 371-2 (D)
060
1995
1,4-7,10,11 - CD BEST OF THE VERVE YEARS VERVE 314 527 371-2 (US)
*****
345
*****
March 7-17, 1968 - Caf Au Go Go, New York Electric Flag
April, 6, 1968 Electric Flag, Earl Warren Fairgrounds, Santa Barbara, CA
April 12-13, 1968 - The Shrine Exposition Hall, Los Angeles - Electric Flag, Quick Silver, Charlie Musselwhite
April 24, 1968 - Electric Flag at 7th Annual Folk Festival, San Francisco
April 25,26,27 1968 -- Fillmore Auditorium -- Electric Flag / Albert King / Collectors
The old Fillmore closed and reopened in a new location as Fillmore West in June
*****
Poster: Live at Peterson Gym, San Diego State College May 3, 1968 - Electric Flag, Buffalo Springfield, Jellos Gas Band.
*****
1968, May, 18-19 Electric Flag at Northern California Folk Rock Festival, Family Park, Santa Clara, San Jos
*****
Carousel Ballroom in San Francisco on May 17-19, 1968 featuring Electric Flag, Don Ellis Orchestra, and P.G. and E.
The Carousel was the former El Patio Ballroom on the second floor of the car dealership on the southwest corner of Market
and Van Ness. (Later to become Fillmore West)
*****
ELECTRIC FLAG - ERMA FRANKLIN
1968. Apr.?
Carousel Ballroom, San Francisco
Michael Bloomfield, guitar - Buddy Miles, dr, vocals 1,2,11 Nick Gravenites, percussion, guitar, vocal 4 Herbie Rich,
baritone sax - and probably: Harvey Brooks, bass - Barry Goldberg, organ, vocals 11? - Peter Strazza, tenor sax - Marcus
Doubleday, trumpet Virgil Gonzales, baritone sax 3 - Erma Franklin, vocals 6-10 ? lead vocals 11 - ? flute
60
480
*****
ELECTRIC FLAG
1968. May 18 Carousel Ballroom, San Francisco
Michael Bloomfield, guitar - Harvey Brooks, bass - Buddy Miles, drums, screams 8, vocals 9,12 - Barry Goldberg, organ,
vocals 10? - Peter Strazza, tenor sax - Marcus Doubleday, trumpet - Nick Gravenites, vocals 11,13,14 percussion - Herbie
Rich, baritone sax
1. Soul Searching ()
2. Tuning ()
3. Milk Cow Blues ()
4. Tuning ()
5. Id Rather Drink Muddy Water ()
6. Groovin Is Easy ()
7. Instrumental (1.34)
8. Instrumental (4.01)
9. Texas (5.43)
10. Hey Joe (5.05)
11. It Takes Time (6.47)
61
476
1968
464
*****
THE ELECTRIC FLAG
1968. May.18. Live at the Carousel Ballroom, SF early show
Michael Bloomfield, guitar 2-6 - Harvey Brooks, bass - Buddy Miles, drums, vocals 5 - Barry Goldberg, organ - Peter
Strazza, tenor sax - Marcus Doubleday, trumpet, flugelhorn - Nick Gravenites, vocals 2,6 percussion 2-6 - Herbie Rich,
baritone sax
1. Soul Searchin (8.16)
2. Tuning (3.12)
3. Milk Cow Blues (5.01)
62
4. Tuning (0.49)
5. Id Rather Drink Muddy Water (8.09)
6. Groovin Is Easy (4.34)
Aired on the website http://concerts.wolfgangsvault.com/home.aspx that has all the Fillmore shows recorded by Bill
Graham!
Bloomfield and Gravenites are late and only show up 5 min. into the first track without playing. Thats the reason it takes
more than three minutes to tune after the first track. It was a matinee where they only played for half an hour. There are
places where the tape runs too fast.
*****
THE ELECTRIC FLAG
1968. May.18. Live at the Carousel Ballroom, SF late show
Michael Bloomfield, guitar 2-6 - Harvey Brooks, bass - Buddy Miles, drums, vocals 5 - Barry Goldberg, organ - Peter
Strazza, tenor sax - Marcus Doubleday, trumpet, flugelhorn - Nick Gravenites, vocals 2,6 percussion 2-6 - Herbie Rich,
baritone sax
1. Instrumental (1.36)
2. Instrumental (4.00)
3. Texas (5.48)
4. Hey Joe (5.48)
5. It Takes Time (6.53)
6. Tuning (1.05)
7. I've Been Loving You Too Long (8.09)
8. Another Country (2.04) cut short
9. Aint No Doctor (?) (3.21) fade in (Dr. Feelgood??)
10. Tuning (0.50)
11. Don't You Lie To Me (7.15)
12. Tuning (0.30)
13. Soul Searching (9.27)
Aired on the website http://concerts.wolfgangsvault.com/home.aspx that has all the Fillmore shows recorded by Bill
Graham!
*****
THE ELECTRIC FLAG
1968. May.18. Live San Jos at the Northern California Folk Rock Festival May 18-19. Family Park, Santa Clara Co.
Fairgrounds.
Michael Bloomfield, guitar - Harvey Brooks, bass - Buddy Miles, drums, vocals 3,6 - Barry Goldberg, organ - Peter
Strazza, tenor sax - Marcus Doubleday, trumpet - Nick Gravenites, vocals 2,4,5,7,8 percussion - Herbie Rich, baritone sax
1. Soul Searchin (5.36)
2. Groovin Is Easy (4.28)
3. Hey Joe (4.55)
4. Sweet Home Chicago (7.38)
5. Killing Floor (4.48)
6. Texas (5.01)
7. Another Country (4.35)
8. Wine (3.53)
A complete live-recording (one of the better Flag ones!) from The Northern California Folk Rock Festival in San Jos May
18 and 19, 1968. On the first day several Californian groups played: Big Brother & the Holding Co., Country Joe and the
Fish, Jefferson Airplane and the Youngbloods and many more. The second day The Doors and Eric Burden and The
Animals were the big names. Recordings are known to be recorded on Jorma Kaukonens reel onstage. That explains the
very little conversation heard on the tape (but not the female voice, unless both Jorma K and Grace Slick was sitting there
listening?).
63
You can hear MB naming Jimi The Fox right before they play Hey Joe a track that makes the tape special interesting
with the fiery guitar work by MB. Halfway through Hey Joe the tape suddenly improves a lot, as if the microphone now
is placed on stage, which it apparently was!
Gravenites is really belting out Sweet Home Chicago just like he is really missing the city. Its a slow version with fine
guitar. MB is playing very fine all over in this show that must have been if not the last so one of the last for him in the
Flag. It is told that (one of) the reason MB quit when he did was because the greedy booking agents had them playing three
places on the same day. Well, here's the San Jos gig, the same day they're doing a stint (two shows!) at the Carousel
Ballroom. (Other sources date this show to May 19).
1968. May
350
*****
WAYNE TALBERT
1969?
Prod. Dr. John (Mac Rebennack)
Wayne Talbert, vocals, piano - Michael Bloomfield, guitar 1?,7?
1. Dues To Pay (6.19)
2. What More Can I Say (4.00)
3. Schizophrenic Susan Minnick (3.15)
4. Love Aint What It Used To Be (3.03)
5. Hell Of A World (3.54)
6. Suddenly (3.23)
7. Funky Ellis Farm (3.06)
8. Cryin Bag (3.12)
9. The United State Of Mind (3.15)
The sound of this LP owes much to the Electric Flag! Maybe it is the Electric Flag or members from it, who accompany
Wayne Talbert? The only track with an almost certain MB contribution is track (7). Track (1) is a contender for being an
Electric Flag track! Its a rarely seen LP as is the next one also by Talbert.
Wayne Talbert was keyboardist in the Sir Douglas Quintet in the late 60s, but had had a solo recording career since 1962.
There are no credits or dates on the cover.
1968?
472
WAYNE TALBERT
1969?
Prod. Dr. John (Mac Rebennack) - arr. Harold L. Battiste
Wayne Talbert, vocal, piano - Michael Bloomfield, guitar 10 - Mike Deasey, guitar - Ernest McLean, guitar - Paul
Humphrey, dr - Harold L. Battiste, piano - Bob West, bass - Mel Lastie, tp - Ike Williams, tp - Plas Johnson, reeds Herman Riley, reeds - Curtis Amy, reeds - background singing?
1. I Put A Spell On You (3.31)
2. She Put The Hurt On Me (2.20)
3. Trouble (2.40)
4. Take Another Look (2.10)
5. Mr. Barely Corn (2.17)
6. I Found A Little Girl (2.42)
7. Dont You Know Little Girl (3.19)
8. Getting Married Soon (2.45)
9. Lifes Windows (2.46)
10. Cranicola Narcissis Buds (5.00)
This time there is no doubt! MB plays on track (10). This is a great track with fine soulful stinging guitar. This time there
are credits but no mentioning of Bloomfield.
64
In 1970 Talbert released and LP on Mercury, so both the Pulsar (a subsidiary to Mercury) albums must be from before that.
Thanks to Ari in Finland for pointing to the Talbert LPs.
1969?
1,6 7 I PUT A SPELL ON YOU/I FOUND A LITTLE GIRL PULSAR 2416 (US)
1969?
472
390
*****
May 24, 1968 Electric Flag at UCSB in Robertson Gym in Santa Barbara California together with Cream
*****
SUPER SESSION - Al Kooper, Michael Bloomfield, Stephen Stills
1968. May.28. Recorded at Columbia Records, Los Angeles - producer Al Kooper
Michael Bloomfield, guitar 1-5 - Al Kooper, piano, organ, ondioline, vocals, 12-string guitar, guitar - Stephen Stills, guitar
6-9 - Harvey Brooks, bass 1-9 - Eddie Hoh, dr 1-9- Barry Goldberg, electric piano 1,2 - Horn arr. Al Kooper and Joey Scott
(overdubbed at a later date).
1. Alberts Shuffle (6.43) (6.53)
m Kooper/MB
2. Stop (4.23) (4.28)
3. Mans Temptation (3.25) (3.24)
4. His Holy Modal Majesty (9.13) (9.10) m Kooper/MB
5. Really (5.29) (5.26)
m Kooper/MB
6. It Takes A Lot To Laugh, It Takes A Train To Cry (3.30) (3.30)
7. Season Of The Witch (11.07) (11.05)(single edit 5.21)
8. You Dont Love Me (4.12) (4.12)
9. Harveys Tune (2.09) (2.02)
10. Season Of The Witch (5.21) single edit
11. Blues For Nothing (4.14) bonus track
12. Alberts Shuffle (6.54) 2002 remix w/out horns m Kooper/MB
13. Season Of The Witch (11.08) 2002 remix w/out horns
65
Second row of timing is from the Quadraphonic SQ release. The Bloomfield tracks were recorded on May 28, 1968. This
was the best selling record that MB ever was involved in. Great playing - its more of a jam session including the Stephen
Stills tracks. Still great after all these years.
Even greater is the 2003 release of Super Session including 4 bonus tracks. Tracks 11-13 plus a live track from Fillmore
West probably recorded Sept. 1968 (Live Adventures Of.).
1968
1968
203
150
1968
367
1968
224
1968
323
1968
115
1968
167
1968
182
1968
004
1968
004
1968
030
196?
1969
204
1969
1970
076
1972
7 - LP-4 POP, ROCK & SOUL COLUMBIA HOUSE DS 610-13 (US) Sampler
1973
099
1975
031
1975
034
197?
426
19??
1983
1983
19??
198?
198?
116
19??
257
024
66
1991
1989
1989
1994
1995
199?
1995
1999.Aug.
2000
2000.Apr.
2001
2001
2003
2003
2003
2008
053
079
413
439
400
518
*****
The following dates with Electric Flag were probably without MB:
June 7, 8, 1968 -- Fillmore East -- Electric Flag / Quicksilver Messenger Service / Steppenwolf
2 shows both days
*****
June 21-22, 1968 - Electric Flag live at Hippodrome , San Diego
*****
July 9, 10, 11, 1968 - Fillmore West - Electric Flag / Buddy Guy / Freddie King
The very first concert at Filmore West was on July 5, 1968 with among others Butterfield Blues Band.
*****
Bill Graham had three main theaters in San Francisco, although he did promote shows in other SF facilities on occasion.
The Fillmore Auditorium (Bill Graham's first venue) was originally built in 1912, the 1,199-capacity and was located at
Fillmore Street and Geary Boulevard. The first show was 10 December 1965 and was headlined by The Jefferson Airplane;
the last was on 4 July 1968 and was headlined by Creedence Clearwater Revival.
67
The Fillmore West, which replaced the Auditorium, was located at 10 South Van Ness Ave and 1545 Market Street in San
Francisco, CA. in the old Carousel Ballroom. The first show was on 5 July 1968 and was headlined by the Butterfield Blues
Band; the last show was on 4 July 1971 and was headlined by Santana.
Winterland was located roughly at Post Street and Steiner Street. Originally built as an ice skating rink, it had a capacity of
5,400, it was just a short walk from the original Fillmore Auditorium, located at 1805 Geary Blvd. It is now an apartment
building. The first show was on 23 September 1966 and was headlined by The Jefferson Airplane; the last was on 29 May
1971 and was headlined by The Grateful Dead.
Much confusion over the years has resulted from Graham booking a band for, say, three nights and have them play the first
at the Fillmore (either) and then two nights at Winterland. And he would mix it around other ways as well. And, of course,
when people say Fillmore, you don't know which one they're talking about unless you know the date. After 4 July 1968 it's
WEST; before, it's AUDITORIUM.
After 1968, Graham produced shows sporadically at the Fillmore (West) until the 1989 San Francisco earthquake caused
major damage. Following Graham's death in 1991, the company he founded followed up on his plans to restore the building.
The Fillmore has been back on line since 1994, and SFX acquired BGP (Bill Graham Productions) and the Fillmore in 1998.
*****
July 14, 1968 - Bill Graham left the Fillmore Auditorium to take over the Carousel Ballroom.
Electric Flag and Blue Cheer closed the Fillmore at Geary and Fillmore streets.
*****
July 26, 1968 Electric Flat at Santa Monica Civic Auditorium
*****
July 27, 1968 Electric Flag at the Sound Factory in Sacramento, California
Electric Flag at Newport Pop Festival August 3,4, 1968 - California)
*****
MEDIUM COOL - CHICAGO 1968
1968
Movie directed and written by Haskell Wexler after Jack Couffers novel.
Cast (in credits order)
Christine Bergstrom: Dede - Harold Blankenship: Harold - Verna Bloom: Eileen - Peter Bonerz: Gus - Peter Boyle: Gun
Clinic Manager - Robert Forster: John Cassellis - Charles Geary: Buddy - Marianna Hill: Ruth - Doug Kimball: Newscaster
- Robert Mandrel: Penny Baker - Sid McCoy: Frank Baker - William Sickinger: News Director Karlin - Haskell Wexler:
Cameraman - Beverly Younger: Rich Lady - Marian Walters: Social Worker - Edward Croke: Plainclothesman - Studs
Terkel: Our man in Chicago Peter Boyle: Gun clinic manager and many more
Musicians: Michael Bloomfield, guitar, composer of the original music - Paul Butterfield, hca - Marcus Doubleday, tp Bob Jones, drums - Noel Jewkis, tenor sax - John Kahn, bass - Ira Kamin, piano - Fred Olsen, guitar - Gerald Jerry
Oshita, baritone sax
In the movie is also heard a snippet from Frank Zappas Were Only In It For The Money from 1967. The sound bite is a
conversation between Eric Clapton and a girl in a discothque. Its taken from the track: Are You Hung Up?
There is very little original film score.
1994
526
2001
527
*****
July 16, 1968: Big Brother and the Holding Company and Sly and the Family Stone opened the new Fillmore West,
68
1969
1969
1969
1-15 - LP-2 THE LIVE ADVENTURES OF MB & AK COLUMBIA KGP 6 (US) w/time strips 197
1969
1-15 - LP-2 THE LIVE ADVENTURES OF MB & AK COLUMBIA KGP 6 (US) w/CBS stick
005
1969
453
1-15 - LP-2 THE LIVE ADVENTURES OF MB & AK Edsel DED 261 (UK)
1968?
025
69
1975
1983
1983
024
374
1-15 - CD THE LIVE ADVENTURES OF MB & AK EDSEL CD 261 (UK) minus track (12)
1989
1994
199?
1995. Sep.
1997. Mar.
2003
400
2008
518
2010?
2012
1995
031
079
541
*****
JAMES COTTON Blues Band
1968. Oct.?
Recorded in NYC - arranged and produced by Michael Bloomfield & Elliot Mazer
James Cotton, hca, vocals - Bill Stumuk Nugent, alt sax - Luther Tucker, guitar, vocals 4,5 - Robert Bob Anderson,
bass - Francis Clay, drums - David Fathead Newman, baritone sax, 1 - Barry Smith, drums - Gordon Kennerly, coach
Guest players: Mark Naftalin, organ, piano - Michael Bloomfield, guitar, organ 1 - Joe Newman, trumpet - Garnett Brown,
trombone
1. Back to St. Louis (7.01)
2. Motorized Blues
3. The Mule (2.22)
4. With You on My Mind
5. I Cant Live Without You
6. (Please) Tell Me Partner
7. Duke Patrol
8. Take Me by the Hand
9. The Coachs Better Days (3.41)
10. Take Your Hands Off Her
w/m MB
w/m MB
According to the Verve catalogue at least the single The Mule/Coachs better days was recorded on Dec, 17, 1968 with
this line-up: James Cotton (hca, vo) Mark Naftalin (p, org) Mike Bloomfield, Luther Tucker (g) Robert Anderson (el-b)
Francis Clay (d) unidentified tp, tb, sax
1969
3,9 - 7 THE MULE/THE COACHS BETTER DAYS VERVE KF 5107 (US) DJ copy
384
1969
265
70
1969
244
1995
1,2 - CD THE BEST OF THE VERVE YEARS VERVE 527 371-2 (D)
060
1995
1,2 - CD BEST OF THE VERVE YEARS VERVE 314 527 371-2 (US)
*****
Program: Dec. 13, 14, 1968 -- Fillmore East -- Bloomfield-Kooper Super Session / Sam & Dave Review / Earth Opera
Dec. 20, 1968 Fillmore East Super Session
Program: Dec. 27, 28, 1968 -- Fillmore East -- Super Session / Butterfield Blues Band / Sweetwater /
Crazy World of Arthur Brown
2 shows both days
Fillmore East in NY was the former Village Theater
*****
SUPER SESSION LIVE
1968. Dec.13 Recorded live at Fillmore East
Michael Bloomfield, guitar, vocals 3,4,7,9 Al Kooper, vocals 2,5 organ Paul Harris, piano Jerry Jemmott, bass John
Cresci, drums Johnny Winter, vocals, guitar 13
1. MBs introduction (1.30)
2. 59th Street Bridge Song Feelin Groovy (5.05)
3. Im Ready (4.13)
4. Please Tell Me, Partner (10.23)
5. Together Till The End Of Time (5.00)
6. Green Onions (6.45) instrumental
7. For Anyone You Meet (4.57)
W/M MB
8. The Weight (4.08) instrumental
9. Thats Alright, Mama (4.23)
From the official released CD:
10. Introduction (1.27)
11. One Way Out (4.21)
12. Mike Bloomfields introduction of Johnny Winter (0.59)
13. Its My Own Fault (10.57)
14. 59th Street Bridge Song (Feelin Groovy) (6.16)
15. (Please) Tell Me Partner (10.21)
W/M MB
16. Thats All Right Mama (3.40)
17. Together Till The End Of Time (4.30)
18. Dont Throw our Love On Me So Strong (8.41)
19. Season Of The Witch (8.59)
MB introduces the nature of the gig: I wanna tell you all about the nature of this Super Session gig here..Now, the
history of the Super Session gigs are this: The first Super Session gig was a record session that Alan called me to play on.
And I came and played on it for one day and ended up recording half the record. then Stephen recorded with Alan on the
other side of the record. And the record came out and was named Super Session. At that time Alan and I had played
together once or twice in our lives when we played on that day. Then after that sure we had to replay the Super Session gig
at Fillmore, and we practiced four days together with the band fooling everybody. I played two nights at the gig and the
third I got insomnia and didnt come to the gig and we didnt play. So all together that means we have played together
around 8 times. Now comes this gig. At this gig we came to New York a few days ago, and everyone, not everyone, but two
of us had the flu, but we practicedand the musicians on this job is Gerald Jermott, plays bass, John Creci, is playing
drums, and eh. (loud whisper: Paul Harris) sorry, Paul Harris is playing piano, and were playing, and this is the nature of
this Super Session.
In the official released CD from 2003 MBs intro is slightly edited, so you dont hear that he does not know the name of the
piano player. Given the informal nature of the gig and the intro, it should have remained unedited. The CD cover states that
it was recorded from the 13th & 14th. The Johnny Winter track (12) is from December 14.
71
No matter if they rehearsed or not, they are under rehearsed, but MB is doing a fine job anyway. Track (4) stands out as a
real gem with MB singing and playing very good. Track (7) has MB singing one of the songs from his first solo album (to
be recorded later this year). A member of the audience is heard saying: He should stick to playing!
The Weight is played as an instrumental, and MB sounds like he has got it wrong in some way. His playing on the last
track is great, but his singing is not so good. It sounds like he has lost interest in it. Being billed as a Super Session there is
not much Kooper here! Its more like a Bloomfield and Friends show! The tape is labeled December 13.
1968. Dec.
2003.Apr.
2003
2012
347
541
*****
Jan. 30, 31, 1969 -- Fillmore West -- Bloomfield, Gravenites & Naftalin / Chuck Berry / Initial Shock
Feb. 1, 2, 1969 -- Fillmore West -- Bloomfield, Gravenites & Naftalin / Chuck Berry / Initial Shock
Feb. 6-7-8-9, 1969 Fillmore West - The Jam Mike Bloomfield, Nick Gravenites, Mark Naftalin & Friends
*****
Now that Wolfgangs Vault (Bill Grahams private recordings) has opened up, all the recordings listed below from
Fillmore West Feb. 1969 need to be checked against each other!
MICHAEL BLOOMFIELD
1969.Jan.30.-Feb.2. Recorded live at Bill Grahams Fillmore West, San Francisco Producer Elliot Mazer
Michael Bloomfield, guitar, vocals 2 - Nick Gravenites, vocals 1,4,6 - Mark Naftalin, piano - Ira Kamin, organ - John
Kahn, bass - Bob Jones, dr, vocals 3 - Rienol Dino Andino, conga - Noel Jewkis, tenor sax - Gerald Oshita, baritone sax Cornelius Snooky Flowers, baritone sax - John Wilmeth, trumpet - Special guests: Taj Mahal, vocal 5,8 hca 5 - Jesse
Edwin Davis, 2nd guitar 5
1. It Takes Time (4.15)
2. Oh Mama ()
3. Love Got Me ()
4. Blues On A Westside (6.40)
5. One More Mile To Go ()
6. Its About Time (6.55)
7. Carmelita Skiffle () (instrumental)
8, If Ever I Get Lucky ()
9. Stronger Than Dirt ()
w/m MB
m MB/Gravenites/Naftalin/Kahn/Jones/Kamin
m MB/Gravenites/Naftalin/Kahn/Jones/Kamin
This is one of the best of Bloomfield's guitar albums. Together with My Labors it gives the answer as to why Michael
Bloomfield still is remembered. A total of 8 nights over two weeks were planned to be recorded.
Tracks (8 & 9) are bonus tracks on the Japanese 2008 CD (mini LP) release. The booklet states the recordings were made in
January to March 1969.
SEE also below: Nick Gravenites My Labors 1969
1969
1-7 - LP LIVE AT BILL GRAHAMS FILLMORE WEST COLUMBIA CS-9893 promo stamp 225
1969
006
72
1969
199?
219
079
1994
1995
?
2001
2008
1-9 CD Live at Bill Grahams Fillmore West COLUMBIA SICP 1965 (JAP)
2010?
1-7 CD Live at Bill Graham's Fillmore West 1969 Raven RVCD-293 (AUS)
2012
386
541
*****
NICK GRAVENITES
1969. Jan.30.-Feb.2. Recorded live at Bill Grahams Fillmore West, San Francisco (1-4,8) Studio recordings (5-7) - producer Elliot Mazer
Personnel live tracks (1-4,8): Nick Gravenites, vocals - Michael Bloomfield, guitar - Mark Naftalin, piano - Ira Kamin,
organ - John Kahn, bass - Bob Jones, dr, - Rienol Dino Andino, congas - Noel Jewkis, tenor sax - Gerald Oshita, baritone
sax - Cornelius Snooky Flowers, baritone sax - John Wilmeth, trumpet
Personnel studio (5-7): Nick and anonymous friends who turned out to be The Quicksilver Messenger Service.
1. (Youre) Killing My Love (5.09)
2. Gypsy Good Time (4.35)
3. Holy Moly (3.52)
4. Moon Tune (9.04)
5. My Labors (2.53)
6. Throw Your Dog a Bone (2.58)
7. As Good As Youve Been to This World (2.37)
8. Wintry Countryside (13.17)
Outtakes from the Fillmore West recordings. A great record with some beautiful playing from MB. Some of these tracks
could easily have been on the Live at.... album. Gravenites sings at his best. It sounds like this album is mixed better than
the parent one, with clearer sound and better separation of the instruments.
The CD issue in 2001 is very welcome, but we still need the rest of the recordings from these dates. Why not release a
full concert? The CD is credited to Nick Gravenites (with Michael Bloomfield)! Anyway its still some of the best
recorded bluesy guitar of all time.
1969
1-8 - LP MY LABORS COLUMBIA CS-9899 (US) Radio station promo sticker 360 lab.
409
1969
046
1969?
1 - 7 EP - DIG THIS COLUMBIA AS 1 (US) Demo. record 33,3 rpm (1 min. edit)
230
1972
5 - LP-4 POP, ROCK & SOUL COLUMBIA HOUSE DS 610-13 (US) Sampler
73
1983
1983
024
199?
219
2001
386
2008
518
2010?
1-4 CD Live at Bill Graham's Fillmore West 1969 Raven RVCD-293 (AUS)
2012
541
*****
MICHAEL BLOOMFIELD & FRIENDS
1969. Feb. 1. Recorded live at Fillmore West, SF.
Michael Bloomfield, guitar, vocals 5,7 Nick Gravenites, guitar, vocals 1-4,6,8 Mark Naftalin, piano Ira Kamin, organ
John Kahn, bass Cornelius Snooky Flowers, baritone sax Gerald Oshita, baritone sax John Wilmeth, trumpet
Noel Jewkes, tenor sax Rienol Dino Andino, congas Bob Jones, dr
1. Born In Chicago (9.33)
2. Work Me Lord (4.16)
3. Killing My Love (4.55)
4. Holy Moly (3.45)
5. My Heart Beats Like A Hammer (7.17)
6. Its About Time (9.24)
7. School Girl (Young Girl San Quentin Jailbait) (9.14)
8. Born In Chicago (9.53)
Aired on the website http://concerts.wolfgangsvault.com/home.aspx that has all the Fillmore shows recorded by Bill
Graham!
Some of the tracks listed above or after this could be from this show. See Feb. 6, 1969 which probably is this show without
the closing School Girl and the reprise of Born in Chicago.
?
536
2012
541
*****
MICHAEL BLOOMFIELD & FRIENDS
1969. Feb. 2. Recorded live at Fillmore West, SF.
Michael Bloomfield, guitar, vocals 6,8 Nick Gravenites, guitar, vocals 1-5,7 Mark Naftalin, piano Ira Kamin, organ
John Kahn, bass Cornelius Snooky Flowers, baritone sax Gerald Oshita, baritone sax John Wilmeth, trumpet Noel
Jewkes, tenor sax Rienol Dino Andino, congas Bob Jones, dr
1. Killing My Love (4.54)
2. Holy Moly (3.45)
3. Born In Chicago (9.19)
4. Work Me Lord (4.13)
5. Its About Time (9.24)
6. School Girl (Young Girl San Quentin Jailbait) (9.27)
7. Born In Chicago (9.50)
8. My Heart Beats Like A Hammer (7.29)
74
Aired on the website http://concerts.wolfgangsvault.com/home.aspx that has all the Fillmore shows recorded by Bill
Graham!
?
536
*****
MICHAEL BLOOMFIELD & FRIENDS
1969. Feb.
Recorded live at Fillmore West, SF.
Nick Gravenites, vocals 2-4 - Michael Bloomfield, guitar, vocals 1 - Mark Naftalin, piano - Ira Kamin, organ - John Kahn,
bass - Bob Jones, dr, - Rienol Dino Andino, congas - Noel Jewkis, tenor sax - Gerald Oshita, baritone sax - Cornelius
Snooky Flowers, baritone sax - John Wilmeth, trumpet
1. School Girl (Young Girl - San Quentin Jailbait) (9.11)
2. Born In Chicago (9.48)
3. Blues On A Westside (14.59)
4. Its About Time (9.36)
A recording from the fabulous days at Fillmore West. Track (3) stands out at the ultimate in blues guitar. The date is
unknown., but tracks (1 & 2) probably are from the Feb. 1, show.
1969
341
*****
Feb. 6, 7, 8, 9, 1969 -- Fillmore West -- Bloomfield, Gravenites & Naftalin / The Byrds / Pacific Gas & Electric
*****
MICHAEL BLOOMFIELD & FRIENDS
1969. Feb.6. Recorded live at Fillmore West, SF.
Nick Gravenites, vocals 1-4,6 - Michael Bloomfield, guitar, vocals 5 - Mark Naftalin, piano - Ira Kamin, organ - John
Kahn, bass - Bob Jones, dr, - Rienol Dino Andino, congas - Noel Jewkis, tenor sax - Gerald Oshita, baritone sax Cornelius Snooky Flowers, baritone sax - John Wilmeth, trumpet
1. Born In Chicago (9.34)
2. Work Me Lord (4.13)
3. Killing My Love (4.55)
4. Holy Moly (3.43)
5. My Heart Beats Like A Hammer (7.09)
6. Its About Time (9.25)
This is probably from the show Feb. 1, 1969! Only without the last two tracks.
From the fantastic stay at Fillmore West. This is certainly from MBs most creative period. Born In Chicago is a slow
version compared to Butterfield Blues Bands version. Work Me Lord predates the Joplin recording with 4 months, so
this could be the premiere of the song (Janis Joplins version is superior to this). Holy Moly is always good, a nice tune
and fine singing. The BB King song My Heart Beats Like A Hammer has MB singing and playing his heart out. Hot
stuff. The reason why it didnt make the LP must be the vibrato he uses in his voice, otherwise this is pure gold. Listening
to this gives you an idea why MB is still loved by so many. Brother, can he play!
Unexpectedly (track 5) pops up in a radio show from 2002! MB sings and plays just as great as on the other tracks. The
radio show is hosted by Cory Wolfson.
1969
1-6 TAPE MIKE BLOOMFIELD & FRIENDS AT FILLMORE WEST FEB. 6, 1969
340
2002
5 TAPE BLUES FROM THE RED ROOSTER LOUNGE DECEMBER 14, 2002
451
*****
75
MICHAEL BLOOMFIELD
1969. Feb.8. Recorded live at Fillmore West, SF
Personnel probably: Michael Bloomfield, guitar - Nick Gravenites, vocals 1,2,5 - Mark Naftalin, piano - Ira Kamin, organ John Kahn, bass - Bob Jones, dr, - Rienol Dino Andino, congas - Noel Jewkis, tenor sax - Gerald Oshita, baritone sax Cornelius Snooky Flowers, baritone sax, vocal 3 - John Wilmeth, trumpet
1. Blues On A Westside (15.05)
2. Its About Time (9.47)
3. Sweet Little Angel (11.48)
4. Instrumental (7.22)
5. Thats It! (0.51)
6. Born In Chicago (9.53)
7. Big City Woman (15.18)
8. Its About Time (10.31)
9. Sweet Little Angel (10.08)
10. Instrumental (8.03)
A fantastic (soundboard) recording that shows MB at his best. Track (5) is Nick Gravenites telling the screaming audience
that the show is over. They want more!
1969. Feb.
1969. Feb.
346
*****
Mar. 27, 28, 29, 30, 1969 - Fillmore West - Paul Butterfield Band / Bloomfield & Friends / Birth
*****
MUDDY WATERS
1969. April.21 Recorded at Ter-Mar Studios, Chicago, Illinois - Producer Norman Dayron
Muddy Waters, vocals, guitar 1-4 - Michael Bloomfield, guitar 1-4 - Otis Spann, piano 1-4 - Paul Butterfield, hca - 1-4 Donald Duck Dunn, bass 1-4 - Sam Lay, dr 1-4 - Paul Asbell, rhythm guitar - 2
1. Sad Letter Unissued
2. Walkin' Thru The Park (3.14)
3. Standin' Round Cryin' (4.01)
4. Live The Life I Love (2.41) prev. unreleased
1969. April.22 Recorded at Ter-Mar Studios, Chicago, Illinois - Producer Norman Dayron
Muddy Waters, vocals, guitar 5-13 - Michael Bloomfield, guitar 5-13 - Otis Spann, piano 5-13 - Paul Butterfield, hca 5-13 Donald Duck Dunn, bass 5-9,12,13 - Sam Lay, dr 5-13 - Jeff Carp, hca 10-11 - Paul Asbell, rhythm guitar 7-9 - Phil
Upchurch, bass 10-11
5. Twenty Four Hours (4.45)
6. Country Boy (3.20) prev. unreleased
7. Sugar Sweet (2.14)
8. Sugar Sweet (alt. take) (2.16)
9. Forty Days And Forty Nights (3.04)
10. All Aboard (2.46)
11. All Aboard (alt. take) (2.38)
12. Can't Lose What You Aint Never Had (3.03)
13. Goin' Home (I Wanna Go Home) unissued
1969. April.23 Recorded at Ter-Mar Studios, Chicago, Illinois - Producer Norman Dayron
76
Muddy Waters, vocals, guitar 14-19 - Michael Bloomfield, guitar 14-19 - Otis Spann, piano 14-19 - Paul Butterfield, hca 14-19 - Donald Duck Dunn, bass 14-19 - Sam Lay, dr 14-19
14. Oh Yeah (3.46) prev. unreleased
15. Mean Disposition (5.40)
16. Blow Wind Blow (3.38)
17. I'm Ready (3.33)
18. I Feel So Good (2.23) single edit
18a. "I Feel So Good" (2.57)
19. Someday Baby Unissued
1969. April.24 Recorded live at the Super Cosmic Joy-Scout Jamboree benefit for The Phoenix Academy
at the Auditorium Theater, Chicago, Illinois - Producer Norman Dayron
Muddy Waters, vocals, guitar 24-30 - Michael Bloomfield, guitar 20-30 vocals 20 - Otis Spann, piano 24-30 - Paul
Butterfield, hca 24-30 vocals 21 - Donald Duck Dunn, bass 20-30 - Sam Lay, dr 24-29 - Buddy Miles, dr. 20-23,30
vocals 22,23 - Ira Kamin, organ 20-23?
20. Hey! Little Schoolgirl Unissued warm up
21. Losin Hand Unissued warm up
22. Down On Broadway Unissued warm up
23. Texas Unissued warm up
24. Hoochie Coochie Man Unissued
25. Long Distance Call (6.35)
26. Baby Please Don't Go (3.05)
27. The Same Thing (6.00)
28. Honey Bee (3.57)
29. Got My Mojo Workin Part One (3.39)
30. Got My Mojo Workin Part Two (5.55) encore
A great collaboration between fathers Waters and Spann and sons the rest of the bunch. This session is a must for any
MB or just blues fans. In the music magazine Hit Parader from December 1969 is an on-site report quoting Marshall Chess:
The best blues cut in ten years. Even Nick Gravenites is quoted Its good to hear the blues again., and he appeared at
the live show on the 24th, closing after Fathers and Sons, with members of Quicksilver Messenger Service (John Cipollina,
David Freiberg and Greg Elmore) as well as being emcee. The all girl group - Ace of Cups - opened the show.
The difference between tracks (18) and (18a) is that on the single the guitar solo is edited out!
On the CD release form 1998 CHESS UMD 80562 (EEC) there is added a bonus studio track, Love The Life I Live that
originates from a 1956 session with James Cotton on harp and Jimmie Rogers on second guitar. Only the 2001 CD release
MCA/CHESS 088 112 648-2 (US) has the Fathers and Sons outtake of this track from 1969.
Tracks (20-24) were not recorded but were a sort of warm up show without the Fathers. Ira Kamin is reported to have
played organ on the live date. The second Mojo was the encore.
The Chess single 2085 has a recording of Going Home from a later (November) session with Muddy Waters band (plus
horn and girl backup-singers), but also produced by Norman Dayron. Probably released in the mid 70's.
The Roots CD RTS 33020 includes 9 tracks from Muddy Waters London Sessions with Rory Gallagher on guitar from
December 1971.
19??
18 7 I FEEL SO GOOD/(GOING HOME) CHESS 2085 (US) DJ copy light blue label
368
1969
314
1969
2,3,5,7,9,10,12,15-17,25-30 - LP-2 FATHERS AND SONS NIPPON VICTOR CHESS 9505-10 (JAP)
1969
2,3,5,7,9,10,12,15-17,25-30 - LP-2 FATHERS AND SONS CHESS LPS-127 (D?) black lab.
1969?
084
77
1971
256
1971
2,3,5,7,9,10,12,15-17,25-30 - LP-2 FATHERS AND SONS SONET GPD-10006 (DK) alt. cover 423
1972
1972
1972
1974
1974
1976
1982
2,10,12,16,17,25? - LP MUDDY & THE WOLF CHESS CH 8200 (US/CAN) wh. lab. promo
1982
7.1762
1984
7.1200
1982
298
1988
19??
1989
1989
1990
1990
179
1990
052
1990
7.1927
1991
1991
199?
2,5,10 - CD-4 MUDDY WATERS: THE KING OF CHICAGO BLUES MCA CHD 3-80002
199?
199?
1997
27 - CD-2 WILLIE DIXON - THE CHESS BOX CHESS MCD 16500 (US)
1998
220
2001
330
373
022
088
297
78
*****
MICHAEL BLOOMFIELD
1969. May
Recorded at Golden State Recording, San Francisco - Wally Heider Recording, San Francisco Columbus Studio, San Francisco - Columbia Records, Los Angeles producers Nick Gravenites and Michael Melford
Michael Bloomfield, guitars, ac. guitar, vocals, piano - Bob Jones, dr, vocals - John Kahn, bass - Fred Olsen, rhythm guitar,
ac. guitar - Ira Kamin, organ, piano 11, banjo - Mark Naftalin, organ, piano - Roy Ruby, organ - Michael Melford, guitar,
mandolin, vocals - Nick Gravenites, vocals - Orville Red Rhodes, steel guitar - Ron Stallings, tenor sax - Mark Teel,
baritone sax - Gerald Oshita, baritone and tenor sax - Noel Jewkis, soprano and tenor sax - John Wilmeth, trumpet - Marcus
Doubleday, trumpet - Richard Santi, accordion - The Ace of Cups, vocals - Diane Tribuno, vocals and with a little help
from: Henri Napier, Kathy Moore, Crash Jordan, Mari Miller, Mary Kay Stolz
1. If You See My Baby (3.05)
2. For Anyone You Meet (4.03)
3. Good Old Guy (3.20)
4. Far Too Many Nights (5.09)
5. Its Not Killing Me (3.01)
6. Next Time You See Me (2.55)
7. Michaels Lament (4.21)
8. Why Must My Baby (2.37)
9. The Ones I Loved Are Gone (3.05)
10. Dont Think About It Baby (3.29)
11. Goofers (1.48)
12. Tell Me Partner ()
w/m MB
w/m MB
w/m MB
w/m MB
w/m MB
w/m MB
w/m MB
w/m MB
w/m MB rec. May 19, 1969
w/m MB
w/m MB
At last! MBs first solo record. A lot of friends are playing and the tracks must have been recorded over a longer period of
time, and sounds - like many of his later albums - very varied. Still great playing and a very fine debut for MB.
1969
1-11 - LP ITS NOT KILLING ME COLUMBIA CS 9883 (US) Radio Station copy
443
1969
1-11 - LP ITS NOT KILLING ME COLUMBIA CS 9883 (US) w/CBS stickers (reel)
119
1969
007
1970
446
19??
10 - LP-2 FILL YOUR HEAD WITH ROCK CBS SPR 39/40 (UK)
1983
1983
1994
2002. Apr.
2008
1995
3.037
024
079
518
79
*****
JANIS JOPLIN &The Kozmic Blues Band
1969. Jun. (15-25) Producer Gabriel Meckler Lizzard Productions - Columbias Hollywood studio
Janis Joplin, vocals, tambourine, maracas, guiro, claves - Sam Andrew, guitar, background voice - Richard Kermode, organ
- Gabriel Mekler, organ, arr. String Quartet, 7 - Brad Campbell, bass - Maury Baker, dr - Lonnie Castille, dr - Cornelius
Snooky Flowers, baritone sax, tambourine, background voice - Terry Clements, tenor sax, guiro - Luis Gasca, trumpet,
cowbell - Michael Bloomfield, guitar 2?,3,5?,8,10-14 (uncredited), arr. String Quartet, 7
1. Try (Just A Little Bit Harder) (3.58) - recorded June 24, 1969
2. Maybe (3.43) - recorded June 15, 1969
3. One Good Man (4.10) - recorded June 24, 1969
4. As Good As Youve Been To This World (5.25) - recorded June 13, 1969
5. To Love Somebody (5.17) - recorded June 18, 1969
6. Kozmic Blues (4.23) - recorded June 25, 1969
7. Little Girl Blue (3.49) - recorded June 25, 1969
8. Work Me, Lord (6.33) - recorded June 18, 1969
9. Dear Landlord (2.31) recorded June 17, 1969
10. Nobody Loves You When Youre Down And Out (5.21)
11. Try (Just A Little Bit Harder) (4.33)
12. I Need You Daddy (4.00)
13. Get It While You Can (4.51)
14. Texas (10.05)
15. Radio spot for the album (0.50)
Janis Joplin had gotten rid of Big Brother and the Holding Company, and only Sam Andrew was still around. The new band
was augmented by Mike Bloomfield on half of the songs (so it sounds at least) and Nick Gravenites was a sort of coproducer. He was asked to find the musicians for the recording and gave some strong songs to be included.
MB plays very beautifully on tracks (3 and 8). And perhaps he also plays on (2,5). The recording dates are taken from the
Kozmic CD from the box set Box of Pearls.
The outtake (10) has a very strong Joplin vocal, but a weak guitar. Even the solo is nothing to write home about. It could be
that this was one of the first recordings, and that Bloomfield still is trying to find the groove. What is done is not bad, but
its subdued and cautious, but it sounds like him anyway. The source for these outtakes is a vinyl record, assumable an
acetate.
On (11) it sure sounds like Bloomfield is singing backup chorus here and there. Not much guitar at all, no horns
overdubbed, and again a strong vocal performance, a take very different from the released version. Track (12) is the
"weakest" of the outtakes. Still a good vocal though.
80
Track (13) has a little more prominent guitar solo. The song was later rerecorded in a much shorter version for the last
Joplin album Pearl with keyboards as the main instruments. Track (14) is a surprise and a treat! Ten minutes of great
vocal and great guitar. In a few places Janis microphone cant handle her powerful voice, ending up with a distortion,
otherwise a perfect recording that should have been on the album. Janis, being from Texas herself, is opening the song with
this line: I had to get out of Texas, babe instead of the softer original: Id Just come in from Texas, babe.
The radio spot (track 15) has snippets of Try and Maybe Baby.
The circulating outtakes (10-14) are dated December 3, 1969. All released tracks are dated between June 15-25, 1969.
1969
389
1969
1969
1969
505
1969
334
1969
452
1969
129
1969
1-8 - LP I GOT DEM OL KOZMIC BLUES AGAIN MAMA! CBS S 63546 (NL)
050
1969
1-8 - LP I GOT DEM OL KOZMIC BLUES AGAIN MAMA! CBS S 63546 (D)
050
19??
1-8 - CD I GOT DEM OL KOZMIC BLUES AGAIN MAMA! COLUMBIA CK 9913 (US)
19??
1-8 - CD I GOT DEM OL KOZMIC BLUES AGAIN MAMA! CBS CDCBS 32063 (AUT)
166
1980
315
1993. Nov.
1995
1999
2002
388
*****
OTIS RUSH
1969
Recorded at Fame Recording Studios, Muscle Shoals, Alabama Producers Michael Bloomfield & Nick Gravenites Otis Rush, vocals, guitar - Jimmy Johnson, guitar - Duane Allman, guitar - Gerry Jermott, bass - Barry Beckett, keyboards Mark Naftalin, keyboards - Roger Hawkins, dr - Aaron Varnell, tenor sax - Joe Arnold, tenor sax - Ronald Eades, baritone
sax - Gene Bowlegs Miller, trumpet 1. Me (2.55)
2. Working Man (2.25)
3. Youre Killing My Love (3.00)
4. Feel So Bad (3.39)
5. Gamblers Blues (5.39)
81
431
1969
544
1969
148
1969
140
1969
130
1973
430
1975
305
19??
220
2001?
August 15-17, 1969 concerts featuring Taj Mahal, Mike Bloomfield (Mike Bloomfield Band) and Nick Gravenites, New
Lost City Ramblers, Southern Comfort at The Devil's Kitchen by The Family Dog on 660 Great Highway in San Francisco,
CA
*****
Aug. 23, 1969 Wild West Music Festival at Kezar Stadium, SF Mike Bloomfield & Nick Gravenites & Friends
*****
THE ZEET BAND
1969
Recorded at Elektron-Muzics, LA, California - Sound Recorders, Hollywood, California Sierra Sound Labs, Berkeley, California Sonart, Chicago, Illinois - Ter-Mar Recording, Chicago, Illinois
Producer Norman Dayron
Moogsicians: Fastfingers Finkelstein (aka Michael Bloomfield), guitar 1,8?,10,12? more? - Paul Beaver, moog - Mark
Naftalin, keyboards - Norman Dayron - Erwin Helfer, keyboards
Assisting moogsicians: Donn. E. Hathaway (Donny Hathaway), piano - Phil Upchurch, bass - Morris Jennings, drums - Ira
Kamin, piano - T. John Conrad - Lawrence Brown, horns? - Richard A. Berk, drums - Joe Osborn(e), bass - John Guerin,
drums - Ray Pohlman, bass
1. Fireball Boogie!" (3.18)
m MB/Dayron
82
518
1969
241
*****
MOTHER EARTH
1969
Executive prod. Barry Goldberg - Co-prod. Dan Healy, Mark Naftalin (and arr.), Mother Earth,
Guests: Michael Bloomfield, guitar as Makal Blumfeld 2 - Spencer Perskin, violin 1,4 - Jose Emilio Rodriquez III, drums
9 - Barry Goldberg, organ 2 - Mother Earth: Tracy Nelson, piano 5,9 vocals - R. Powell St. John jr., vocals, hca, - John
(Toad) Andrews, guitar - Bob Arthur, Bass - George Chuck Rains, drums - Mark Naftalin, Organ, Piano - Backup
vocals by Earthettes 3,5,: Sylvia Caldwell (soprano voice 10) - Losella Funque - Shalimar Samuelson - Horn Section:
Martin Fierro, alto sax, flute, tenor sax, arr. (horns) - Frank Morin, tenor sax - Bob Salisbury, baritone sax - Ron Taormina,
baritone sax - Link Davis Jr., alto sax - Louis Gasca, trumpet
1. Marvel Group (3.14)
2. Mother Earth (6.03)
3. I Did My Part (2.53)
4. Living with the Animals (4.46)
5. Down So Low (3.34)
6. Cry On (4:26)
7. It Wont Be Long (3.33)
8. My Love Will Never Die (4.48)
9. Goodnight Nelda Grebe, the Telephone Company Has Cut Us Off (2.39)
10. The Kingdom of Heaven (Is Within You) (4.59)
11. Mother Earth (3.04) single edit.
12. I Did My Part (2.42) single edit.
Another fine session with MB. Asked about any more recordings or outtakes from the session, Tracy Nelson answer is:
I'm sorry to say that's about it for me and Michael. He came in, knocked off a beautiful solo and split.
1969
11,12 7 MOTHER EARTH/I DID MY PART MERCURY 72909 (US) Wh. lab. Promo
360
1969
360
1969
1-10 - LP LIVING WITH THE ANIMALS MERCURY SR-61194 (US) Gatefold org.?
311
83
1969
1-10 - LP LIVING WITH THE ANIMALS MERCURY SR-61194 (US) Gatefold diff. label
173
1969
1-10 - LP LIVING WITH THE ANIMALS MERCURY 201 43 SMLC (UK) Gatefold
534
1996
2,4-7,9 - CD THE BEST OF TRACY NELSON/MOTHER EARTH REPRISE ARCH. 46232 (US)
*****
BARRY GOLDBERG
1969
Recorded at Paramount Studios, Los Angeles (& Quinn Ivy Studios & Muscle Shoals Alabama),
Producers Lewis Merenstein & Barry Goldberg.
Barry Goldberg, piano, organ, vocal - Michael Bloomfield, guitar 2-5 - Eddie Hoh, dr 1-9 - David Hood, bass 1-5,8 - Duane
Allman, guitar 8 - Harvey Mandel, guitar 6,9 - Charles Musselwhite, hca 3 - Eddie Hinton, guitar 1 - Don MacCallister,
bass 7,9 - Art, bass 6 - Soulville Horns 2,3,6
1. Youre Still My Baby (3.31)
2. Thats Alright Mama (2.47)
3. Maxwell Street Shuffle (2.35)
4. Blues For Barry And.... (10.15) Dedicated to Big Johns
5. Jimi the Fox (3.27) Dedicated to Jimi Hendrix
6. A Lighter Blue (2.45)
7. On the Road Again (2.00)
8. Twice a Man (4.25)
9. Spirit of Trane (4.00)
10. Jimi the Fox (2.20) Dedicated to Jimi Hendrix (single version)
On the original LP Michael Bloomfield is credited as Great, on the Blasts From.... LP he is credited as Michael and
on the CD from 1993 the title is: BARRY GOLDBERG Two Jews Blues with Mike Bloomfield.
The single has Jimi The Fox fading out after (2.20).
1969
7,10 - 7 JIMI THE FOX/ON THE ROAD AGAIN BUDDAH 103 (US) promo
382
1969
7,10 - 7 JIMI THE FOX/ON THE ROAD AGAIN KAMA SUTRA 103 (US) promo
1969
145
1969
009
1971
3-5 - LP BLASTS FROM MY PAST BUDDAH BDS-5081 (US) wh. lab. promo
176
1971
3-5 - LP BLASTS FROM MY PAST BUDDAH BDS-5081 (US) Best of Barry Goldberg
1971
3-5 - LP BLASTS FROM MY PAST BUDDAH 2318 038 (UK) Best of Barry Goldberg
210
1974
3-5 - LP BLASTS FROM MY PAST BUDDAH 6.23139 AO (D) Best of Barry Goldberg
056
1990
7.1927
1991
113
1993
100
1993
1993
84
BARRY GOLDBERG
1969
Producer Morey Alexander, Chicago
Michael Bloomfield, guitar 1,3,12,16 vocals 1,3 - Barry Goldberg, organ 1,2,5, 15-26 - Harvey Mandel, guitar
2,4,5,12?,14,23-26 Robben Ford, guitar 6-11,13 - Eddie Hoh, drums 1,2,5, 22-26 Neil Merriweather, bass - Bob Jones,
bass, vocals 4,12 Charlie Musselwhite, hca 6-11,13 Vincent Bell, guitar 22-26 Charlie Musselwhite, hca 22-26
1. Sweet Home Chicago (4.15)
2. I Got to Love My Woman (12.30)
3. Long Hard Journey (6.20) (One More Mile)
4. Woke Up This Morning (4.15) (Milk Cow Blues)
5. Mess a da Blues (8.37)
6. Just A Little Bit (2:51)
7. Big Legged Women (4.47)
8. Brown Sugar (3.02)
9. Get the Spirit (4.01)
10. Directly from My Heart (3.50)
11. Night Train (4.13)
12. Hello Josephine (4.27) [credited to MB, but sounds like Mandel]
13. Fell Down On My Knees (3.52)
14. More Soul (5.15)
15. I Got A Woman (Dedication) (8.37)
16. Thats Alright Mama (4.17)
17. Milk Cow (Muscrat) (4.28)
18. A Taste Of Honey (organ serenade) (6.57)
19. Josephine (Crying For You) (4.33)
20. Suzie Q (6.10)
21. Medley (California Earthquake) (7.55)
22. Blue Suede Shoes (Trying Too Hard) (3.05)
23. Big Boss Man
24. You Got me cryin
25. Low Down Funk
26. Im losing you (all 4 rec. in Chicago with Mandel & Musselwhite and Bobby Jones vocals)
Someone has tried to make it sound like a live recording, but most of the applause sounds like its edited from a sounds
collection! The 1996 Thunderbolt release gives the recording date as 1971 for (1,2,5) and also lists the players. Thanks to
Paul Thompson for making sense out of these recordings! (I hope I got it right!!)
Fine playing all over.
1969
172
1976
1, 3, 15-26 - LP REC. LIVE BARRY GOLDBERG & FRIENDS BUDDAH BDS 5684 (US)
Demonstration stamp in gold on back cover.
171
1976
1, 3, 15-26 - LP REC. LIVE BARRY GOLDBERG & FRIENDS BUDDAH BDS 5684 (US)
199
1993
1, 3, 15-26 - CD BARRY GOLDBERG & FRIENDS LIVE UNIDISC BDK 5684 (CAN)
1995
1-5 - CD NOTHIN BUT THE BLUES: BARRY GOLDBERG & FRIENDS LASERLIGHT 17 057 (US)
1995
6-14 - CD NOTHING BUT THE BEST OF THE BLUES LASERLIGHT 17 058 (US)
1996
2005
487
85
*****
August 15-17, 1969 concerts featuring TAJ MAHAL, MIKE BLOOMFIELD and Nick Gravenites, New Lost City
Ramblers, Southern Comfort and Devil's Kitchen at The Family Dog on 660 Great Highway in San Francisco, CA.
*****
October 1, 1969 Fillmore West - Grape Strike Benefit,
Santana, Mike Bloomfield & Friends, Toung & Groove / Shades Of Joy
*****
November 10, 1969 Mike Bloomfield, Nick Gravenites, Eddie Hoh, John Kahn, Ira Kamin, Mark Naftalin
at The Tam Hi Ruby Scott Auditorium
*****
BREWER AND SHIPLEY
1969
Recorded at Golden State Recordings, San Francisco and Crystal Studios, LA - Producer Nick Gravenites
Michael Brewer, vocals, ac. guitar, shakers, vibra-slap - Tom Shipley, vocals, ac. guitar, 12-string guitar - Michael
Bloomfield, electric guitar - Fred Olson, electric guitar - Mark Naftalin, piano, organ - Ira Kamin, organ, piano - John
Kahn, bass - Robert Huberman, bass - Bob Jones, dr - Orville Red Rhodes, pedal steel guitar 6 - Richard Greene, fiddle Apple Jack, hca - Rienol Dino Andino, congas - Special thanks: Phil Ford, tabla - Nicky Hopkins, piano
1. Lady Like You (2.12)
2. Rise Up (Easy Rider) (3.15)
3. Boomerang (2.18)
4. Indian Summer (2.59)
5. All Along The Watchtower (3.18)
6. People Loving Each Other (2.55)
7. Pigs Head (2.10)
8. Oh, Sweet Lady (2.00)
9. Too Soon Tomorrow (2.53)
10. Witchi-Tai-To (6.57)
11. Song From Platte River (3.15)
Michael Bloomfield goes almost unnoticed. Theres some guitar licks on (5), (7) and (10).
1969
1969
4,11 .- 7 INDIAN SUMMER/SONG FROM PLATTE RIVER RADIO ACTIVE GOLD RD 77 (US)502
86
1969
1-10 - LP WEEDS KAMA SUTRA KSBS 2016 (US) Textured gate fold cov.
Titles stamped/pink label
143
1969
057
1969
523
1976
1,2,5,9,10 - LP-2 THE BEST .... BREWER & SHIPLEY KAMA SUTRA KSBS 2613-2 (US)
301
*****
JANIS JOPLIN AND THE BUTTERFIELD BLUES BAND
1970. Mar. 28. Columbia Studio D, Hollywood, CA
Janis Joplin, vocals - Paul Butterfield, hca - Mike Bloomfield, guitar - Mark Naftalin, organ - Rod Hicks, bass - George
Davidson, drums - Gene Dinwiddle, soprano sax, tenor sax - Trevor Lawrence, baritone sax - Steve Madaio, trumpet
1. One Night Stand (Version 1) (3.01)
2. One Night Stand (Version 2) wrong speed
??
??
SAM LAY
1970
Sam Lay, dr, vocals - Michael Bloomfield, guitar - Bob Jones, dr bass ? hca ? piano ? organ ?
Probably all of The Butterfield Blues Band are playing. Mark Naftalin, Barry Goldberg, Paul Butterfield
1. Maggies Farm (5.01)
2. Mean Mistreater (4.35)
3. Sam Lay & Mississippi John (5.05)
4. Cryin For My Baby (3.31)
5. Sloppy Drunk (3.15)
6. My Fault (3.59)
7. Roll Over Beethoven (2.52)
8. Asked Her For Water (7.30)
9. I Got My Mojo Working (3.24)
10. Maggies Farm (3.10) edited single version
11. Got My Mojo Working take 10 (3.30)
12. All Night Long (Wanna Love You) (4.16)
13. Maggies Farm (5.07)
14. Smokestack Lightnin* (7.41)
15. Key To The Highway (3.46)
16. Sloppy Drunk (3.14)
17, Got To Find My Baby (2.29)
18. Mean Mistreater (4.31)
19. Sam Lay & Mississippi John (5.00)
20. Rocks Was My Pillow (3.27)
21. Hitchhike (3.39)
22. Roll Over Beethoven (2.53)
23. Cryin For My Baby (3.28)
24. My Fault (3.55)
The single version track (10) is track (1) shortened. According to the sampler both Bloomfield and Gravenites are producers. The LP states only Gravenites. Bloomfield is shining on several of the outtakes. He sounds great on (13 & 20). Roll
over Beethoven is a tour de force guitar piece. Great! MB is a great rocknroll player. My fault has nice, stinging guitar
from MB.
87
1970
9,10 - 7 MAGGIES FARM/GOT MY MOJO WORKING (MOJO) BLUE THUMB BLU 105 (US)
1970
049
1970
512
1970
026
1993
432
*****
The Jam Mike Bloomfield and friends at Fillmore West January 30-31-Feb. 1-2, 1970?
Feb. 11, 1970 -- Fillmore West -- (Benefit for Magic Sam) featuring:
Butterfield Blues Band / Mike Bloomfield & Friends / Elvin Bishop Group / Charlie Musselwhite / Nick Gravenites
*****
JAMES COTTON Blues Band
1970
Recorded I.D. Sound Studio, Los Angeles, California background vocals recorded at The Record Plant, N.Y.
horns recorded at Bearsville Sound Studio, Bearsville, N.Y. Producers Todd Rundgren & Mark Moogy Klingman
James Cotton, hca, vocals - Michael Bloomfield, guitar 2,8,10 - Johnny Winter, bottleneck guitar 6, guitar 10 - Richie
Heyward, dr 1,3,7 - Todd Rundgren, slide guitar 1,7 guitar 2,3,5, dr 4, percussion 10, background vocals 4,10 - Stu Woods,
bass 1,2,3,4,5,7,9,10 background vocals 10 - Mark Klingman, piano 1,2,3,4,5,7,9,10 organ 1,4,8 background vocals 10 Matt Murphy, guitar 1,3,4,5,7,9 percussion 10 - Joel Bishop OBrien, dr 2,6,8,10 - Don Triano, guitar 4,9 - N. D. Smart II,
dr 5,9 percussion 10 background vocals 10 - Ralph Shuckett, piano 8 accordion 10 - Tom Cosgrove, background vocals 10 Horns: Gene Dinwiddie, Trevor Lawrence, Dave Sanborn, Steve Madaio 3,4,5,9 - Background vocals: Emily Cissy
Houston, Vanevit Simms, Renelle Stafford & Deidre Tuck 1,3,4,9
1. The Sky Is Falling (3.57)
2. Long Distance Operator (5.20)
3. Im A Free Man (2.34)
4. Cant Live Without Love (4.24)
5. Kiddy Boy (4.03)
6. She Moves Me (4.25)
7. Tonight I Wanna Love Me A Stranger (3.08)
8. Nose Open (4.02)
9. Goodbye My Lady (3.05)
10. Georgia Swing (4.48)
w/m MB
Great record. Cotton on top form and a historic session with MB and Johnny Winter playing together. Lots and lots of
names on this one before they were known.
1970
029
1970
496
1970
410
April 8, 1970 (1971?) featuring JOHN MAYALL, SUPER SESSION with MIKE BLOOMFIELD & FRIENDS w/ Chicago
Slim and Randall's Island at the Long Beach Auditorium
*****
88
May 28, 29, 30, 31, 1970 -- Fillmore West -- Mike Bloomfield / Blues Image / Silver Metre
*****
December 12, 1970 San Diego Mike Bloomfield
*****
January 9, 1971 Swing Auditorium - Super Session Mike Bloomfield and Friends/Canned Heat a.o.
*****
BEAVER AND KRAUSE
1971. Jan./Feb. Recorded in January in a San Francisco studio (2) and in Los Angeles (1,3-5)
and on February 10/11, at the Grace Cathedral, San Francisco (6-10) producers Paul Beaver & Bernard L. Krause
Paul Beaver, moog 1-5, pipe organ 6-10, piano 4 - Bernard L. Krause, moog 1-10 - Michael Bloomfield, guitar 2 - Ronnie
Montrose, guitar 2 - Rik Elswit, rhythm guitar 2 - Rod Ellicott, bass 2 - George Marsh, dr 2 - Lee Charlton, dr 2 - Gerry
Mulligan, baritone sax 6-10 - Bud Shank, flute and tenor sax 6-10 - Gail Laughton, harps 6-10 - Howard Roberts, guitar 610 - Patricia Holloway, vocals 4 - The Beaver/Krause Celestial Choir: Clydie King, Evangeline Carmichael, Vanetta Fields,
Ron Lee Hicklin, Bill King, Lewis Morford, Edna Wright and Bernard Krause, vocals 5 - Mike Lang, piano 5, Bay Brown,
bass 5
1. Soft/White (0.52)
Jan.1971
2. Saga Of The Blue Beaver (4.19)
Jan.1971
3. Nine Moons In Alaska (3.04)
Jan.1971
4. Walkin (2.42)
Jan.1971
5. Walkin By The River (2.39)
Jan.1971
6. Gandharva (1.12)
Feb. 10-11.1971
7. By Your Grace (5.13)
Feb. 10-11.1971
8. Good Places (3.37)
Feb. 10-11.1971
9. Short Film For David (5.23)
Feb. 10-11.1971
10. Bright Shadows (4.53)
Feb. 10-11.1971
11. Saga Of The Blue Beaver (3.41) (single edit)
Jan.1971
Bernard Krause writes on the back cover about track (3): Nine Moons In Alaska is inspired by the work we did for Jack
Nietzsche in the movie Performance. Gandharva is from Hindu mythology, and means celestial musician.
1971
221
1971
234
1971
044
1993
195
1994
096
*****
89
343
*****
BOZ SCAGGS (William Royce Scaggs)
1971. Feb. 27. Live at Fillmore West
Boz Scaggs, vocals, guitar Michael Bloomfield, guitar Joachim Jimmy Young (?), keyboards George Chuck Rains
(?), drums David Brown (?), bass - ? trombone
1. Loan Me A Dime (14.28)
This is Bozs big time track from his second album (where Duane Allman graced it with his fantastic playing). The players
names are taken from the band that played with Scaggs around this time. (See also 1973. March live at Winterland).
1971. Feb.
403
*****
WOODY HERMAN
1971. March Wally Heider Recording, San Francisco
Producers Woody Herman & Ray Shanklin - Exec. producer Ralph J. Gleason
Woody Hermans Big Band: Woody Herman, clarinet, vocals, soprano & alto sax - Michael Bloomfield, guitar 1,3-5 Tony Klatka, trumpet, flugelhorn 8 - Tom Harrell, trumpet - Buddy Powers, trumpet - Forrest Buchtel, trumpet - Bill Bryne,
trumpet - Bobby Burgess, trombone - Ira Nepus, trombone - Don Switzer, trombone - Sal Nistico, tenor sax - Frank Tiberi,
tenor sax - Steve Lederer, tenor sax - Gene Smookler, baritone sax - Ed Soph, drums - Alan Read, Fender bass - Alan
Broadbent, piano, electric piano
1. Sidewalk Stanley (5.15)
2. After Hours 6.29)
3. Since I Fell For You (3.55)
4. Proud Mary (4.10)
5. Hitch-Hike On The Possum Trot Line (6.57)
6. Love In Silent Amber (4.27)
7. I Almost Lost My Mind (4.38)
8. Adams Apple (5.51)
1971
1-8 - LP BRAND NEW FANTASY 8414 (US) test press with handwritten labels
1971
1971
212
90
1987
1997
1997.Aug.
132
2000.May
462
*****
February 19, 1971 - Bloomfield & Friends live at the Swing Auditorium, San Bernadino, California
*****
April 29, 30, 1971 -- Fillmore West -- Mike Bloomfield / Chicago Slim / Bola Sete / Mike Finnegan
May 1,2, 1971 Fillmore West -- Mike Bloomfield / Chicago Slim / Bola Sete / Mike Finnegan
*****
JIM MURRAY
1971
Demo Reference, Mickey Hart Ranch, December 1970/January 1971,
and John Cipollina's Apartment, Mill Valley, January 1971.
Prod. John Cipollina
Jim Murray, vocal, hca John Cipollina, steel guitar, slide guitar Michael Bloomfield, piano Greg Elmore, dr. Mario
Cipollina, bass Paul Butterfield, hca Nick Gravenites, 12 string guitar ? back ground vocals, 4 - ? flute 6 - and others
Jim Murray - The Lost Album
1. Great White Lady (Shes So Fine) (3.33)
2. This Woman (4.02)
3. Sweet Lady (3.46) (Take 1)
4. Its Alright Girl (3.07) (take 1)
5. Its Alright Girl (3.02) (take 2)
6. From A Friend Who Loves You (3.47)
7. I Can Love You Woman (7.43)
8. From A Friend Who Loves You (3.43) instrumental
9. This Woman (6.11) instrumental (Take 1)
10. This Woman (3.56) instrumental (Take 2)
11. Its Alright Girl (2.38) instrumental (Take 1)
12. Its Alright Girl (3.00) instrumental (Take 1).
13. Great White Lady (Shes So Fine) (4.06) instrumental
14. Sweet Lady (3.40) (Take 2)
Most of the players have been with Quicksilver Messenger Service: John and Mario Cipollina, Greg Elmore and Jim
Murray. Apparently it was the try out for Jim Murrays solo album. Most of the tracks sound like it is rehearsals; a few like track (6) - seems to be produced.
Jim Murray isnt one of the greatest singers. The sound is in the folk-rock vein. There is not much evidence of MB,
Butterfield or Gravenites. Most of the piano playing does not sound like MB. Mark Naftalin played at times with QMS, so
maybe its him. There are some fine guitar playing here and there, and thats probably John Cipollina. The only thing that
sounds really good is the acoustic slide guitar. On track (2) its the only instrument. After track (6) a voice says: Hot
Chili! It could be the title for track (7) that has inaudible vocals and at least two guitars. This is a nice rocking tune.
MB could be the piano player on track (4 & 5) (including the backing tracks (8 and 10)). There is no audible trace of Paul
Butterfield.
From the magazine Zig Zag 52 this interview with John Cipollina from the mid 70s can be found:
91
418
*****
MICHAEL BLOOMFIELD
1971
Recorded in Michael Bloomfields home in Mill Valley, producer Dan McClosky
Michael Bloomfield, guitar, piano, speak - Dan McClosky, interviewer
1a. Relaxin' Blues: Blues For Jimmy Yancey, Sunnyland Slim And Otis Spann (5.40)
2a. Interview
Part One:
1. If You See My Baby (3.14) from 1969 LP ITS NOT KILLING ME
2. Introduction by Dan McClosky (0.30) /interview segment 1 (6.02) Born in Chicago and raised .
3. Born In Chicago (2.58) from 1965 LP THE PAUL BUTTERFIELD BLUES BAND
4. Interview segment 2 (2.16) He used to be a pretty savage torturous kind of guy about Butter
5. Our Love Is Driftin (3.30) from 1965 LP THE PAUL BUTTERFIELD BLUES BAND
6. Interview segment 3 (4.26) I started when I was 13 years old first bands and gigs
7. Long Distance Call (0.34) Recording by Muddy Waters
8. Interview segment 4 (4.36) We were so little, we were such little punks..
9. Get Out Of My Life Woman (3.06) from 1966 LP EAST-WEST
10. Interview segment 5 (10.03) Violence was part of the thing, you know. Paddy whackers
11. One More Mile (0.45) from 1969 LP LIVE AT BILL GRAHAMS FILLMORE WEST
12. Interview segment 6 (4.22) Oh, man just to be in that environment..
13. Interview segment 7 (4.44) No, I never did get into trouble also about BB King
14. Thank You Mr. Poobah (3.23) from 1965 LP THE PAUL BUTTERFIELD BLUES BAND
15. Dan McClosky Farewell of part one (0.13)
16. Relaxin' Blues (5.46)
Part Two:
17. Unknown music segment 1 - interview segment 8 (2.43)
18. Introduction by Dan McClosky (0.24)
19. Last Night (4.17) from 1965 LP THE PAUL BUTTERFIELD BLUES BAND
20. Interview segment 9 (3.54) When our first record came out, this reviewer..
21. Work Song (1.22) from 1966 LP EAST-WEST
22. Interview segment 10 (0.43) that sort of half assed jazz
92
1983
1983
1989
2008
293
508
024
518
*****
MERL SAUNDERS
1971
Producer Merl Saunders - recorded at Fantasy Studios, Berkeley
Merl Saunders, clavinet 1,12 organ 1-3,5,6,8-12 piano 2,4-7,13 vocals 7, mellotron strings 7,13 electric piano 9, Roland
2000, 10 Michael Bloomfield, guitar 5,6 - Jerry Garcia, vocals 1,2 guitar 1-4,7,8,10,11,13 - Vassar Clements, violin 1,2,4
- David Grisman, mandolin 1,2,4 - John Kahn, bass 1-8,10,11,13 - E.W. Wainwright, drums 1,2,4 Bill Witt, drums 3,58,10,11 Kenneth Nash, congas 3,6, bongos 5,10 perc. 7,9,10,13 Geoff Muldaur, vocals 4 Ron Stallings, saxophone 5,6
John Wilmeth, trumpet 5,6 Michael Howell, rhythm guitar 7, guitar 9 Martin Fierro, flute 7,10, saxophone 12,13
93
Tom Fogerty, rhythm guitar 9 Chuck Rainey, bass 9 Gaylord Birch, drums 9,13 - The Hawkins Family (Edwin, Walter,
Tramiane, Lynette), vocals 9 Vince Littleton, drums 10,13 perc. 10,13 Chris Hayes, guitar 12 Tony Saunders, bass 12
Larry Vann, drums 12 Sheila E Escovedo, congas 12 Joel Cohen, guitar 13 Billy Fender, rhythm guitar 13 1. Mystery Train (6.05) recorded Jan. 12, 1974.
2. Thats All Right (5.01) recorded Jan. 12, 1974
3. I Was Made To Love Her (4.48) recorded live at the Keystone, Berkeley, July 1973
4. Gee Baby, Aint I Good To You (4.57) recorded Jan. 12, 1974
5. Iron Horse (2.47) recorded 1971
6. Little Bit Of Righteousness (2.49) recorded 1971
7. Wondering Why (4.00) recorded 1975
8. Keepers (Finders) (6.22) recorded KSAN-FM Broadcast, Sausalito, CA Sept. 2, 1973
9. Shes Got Charisma (4.00) recorded 1972
10. La-La (5.34) recorded Jan. 12, 1974
11. Georgia On My Mind recorded KSAN-FM Broadcast, Sausalito, CA Sept. 2, 1973
12. M.S. (3.25) recorded 1975
13. Bolinas Brown (10.43) recorded Jan. 12, 1974
1997
1-13 CD MERL SAUNDERS & FRIENDS - KEEPERS FANTASY FCD 7712-2 (US)
320
*****
1971
2008
94
engineer the owner of the studio, who was famous and died in a hot tub after doing too much "of
everything" was always there.
Teda was recorded at the Sound Factory in Hollywood. Dave Hassinger, who owned the place was a good
friend I met through Jack Nitzsche, who arranged 8 albums for the Stones and was responsible for them to
come to America to record. I attended a few sessions for the "Aftermath" album and became friends with
Dave. Because I was recording Teda on a low budget, Dave showed up at the beginning, but his assistant
engineer named Rick did the heavy work. Again Michael, Mark, John Kahn, Richie and Lowell George on slide.
I had the 2" master reel of Ann-Margret for a long time, and in moving it one day I called Chris Darrow and
said "June 1971" after seeing it on the tape box. Teda is more of a problem, as I only had a 7-1/2" tape that
could be anywhere. She was in about 5 "women-in-chains/jails, etc. movies" and was flying home from the
Philippines when the plane hit turbulence and she had a bad head bump to the ceiling that really screwed her
up. I haven't heard anything about her since then. She is in the movie "C.C. & Company" starring AnnMargret and Joe Namath. I did Teda first. She had the same management as Ann (Roger Smith, Ann's
husband, and Alan Carr.) If you can believe this, Ann heard the tape and said, "That's what I wanna be
doing. I want to sound like Tina Turner!" The rest of the story could be a movie a good comedy. I got Mike
and everybody triple scale, so they were happy as hell. No record companies were remotely interested
(movie stars don't sell records).
Denny Bruce
1971
390
*****
ANN-MARGARET - SESSION
1971. June
Recorded in The Sound Factory, Hollywood, California by Denny Bruce
Ann-Margaret, vocals - Michael Bloomfield, guitar - Lowell George, slide guitar - Richie Hayward, drums - John Kahn,
bass - Mark Naftalin, keyboards - Chris Darrow, dobro
1. Shine, My Friend (4.47)
2. Obion Bottom Land (4.00)
With these musicians it got to be good! Track (1) has a very fine slide by Lowell George along with Darrows dobro it
carries the song. MB is only playing an acoustic rhythm guitar with little figures here and there. Track (2) is the better one,
with a bluesy rock sound and a rawer vocal with all the guitars playing rhythm. Reminding of Polk Salad Annie. AnnMargaret sings very well on both tracks. A great mystery none of them ever got a release, not even in a boxed set.
There were recorded three backing tracks for Ann-Margaret, but she only laid vocals down for two of them, according to an
interview with Denny Bruce in the book If You Love These Blues by Jan Mark Wolkin and Bill Keenom. (You can buy it
at Amazon.com).
1971
390
*****
95
327
*****
JOHN HAMMOND
1971
Music composed and performed by John Hammond, guitar, hca. The rumor has it, that Michael Bloomfield played the
piano.
1. Jack Crabb and how he got to be named Little Big Man by the Human Beings.
2. The Indian education of Jack Crabb and the War against the whites.
3. The religious education of Jack Crabb at the hands of Rev. and Mrs. Pendrake. The profane education of
Jack Crabb at the hands of Mrs. Pendrake and Mr. Kane.
4. The loss of Olga, his Swedish bride, to the Indians and the subsequent search for her which leads him
back among the Human Beings.
5. Jack Crabb rejoins the whites and participates in a War against the Indians. Jack Crabb gets
discouraged.
6. Old Lodge Skins explains the difference between white men and Human Beings. Custer attacks and
kills the ponies; Old Lodge Skins becomes invisible.
7. Jack Crabb goes crazy and joins Custer as a mule skinner and reverse barometer. Medicine Tail Coulee
and Little Bighorn.
8. Old Lodge Skins prepares to die. But it rains and they go back to the teepee.
This is a weird sound track. Not much music, mostly Dustin Hoffman speaking with a creaky voice as the 100 year old Jack
Crabb, telling his story. There is a little music behind the dialogue here and there.
The rumor has it, that MB was playing piano, but it is probably just a rumour.
1971
404
****
Sept. 18, 1971 - Huntington Beach Michael Bloomfield and Friends
96
*****
MB and Friends at Pepperland in San Francisco Sep. 24-25, 1971
Michael Bloomfield and Friends at the San Rafael club Pepperland, September 24th and 25th, 1971. Also performing were
Stoneground, Clover (with Huey Lewis) and Mike Finnegan.
*****
Late December 1971 (probably the 21st and 22nd): The opening of the new music hall The Feway Theatre in Boston was
celebrated with two reunion gigs featuring Paul Butterfield and Michael Bloomfield with Mark Naftalin, piano, organ John Kahn, bass Billy Mundi, drums. In the set was: Ball and Chain Why Am I Treated So Bad Born in Chicago
Homemade Songs (Butterfield piano) What Am I Living For (Bloomer vockal & piano). Reviewed in Rolling Stone.
*****
October 31, 1971 The Great Pumpkin Concert - Mike Bloomfield, Nick Gravenites, Loading Zone,
Old Davis, Redwood Acres, CA
*****
MELTON, LEVY & THE DEY BROS.
1972
Producers Michael Bloomfield and Norman Dayron
Barry Melton, vocals, guitar, trombone - Jay Levy, vocals, keyboards - Rick Dey, vocals, bass - Tony Dey, vocals, dr additional personnel: Michael Bloomfield, guitars 1,3,10-12 - Bruce Brymer, dr, vocals - Carol Davis, horns - King
Ericson, congas - Rick Jagger, percussion - Ginette Melton, vocals - The Friends of The Band, chorus
1. Ooh, Ooh, Ooh (2.23)
2. She Dances Through (3.41)
3. Closer (3.32)
4. Been So Fine (3.30)
5. Sweeter The Peaches (2.40)
6. S.O.S. (3.45)
7. Highway 1 (3.06)
8. Hold On To The Good Times (2.58)
9. Play Little Children (3.06)
10. Be With The One (2.46)
11. Newsboy (2.30)
12. Taxpayers Lament (3.33)
13. Bye, Bye Sequence (0.39)
97
1972
6 - 7 S.O.S./S.O.S. (Stereo/Mono) MELTON, LEVY & THE DEY BROS. COLUMBIA 4-45650 (US)
Radio Station copy. Wh. label
442
1972
1-13 - LP MELTON, LEVY & THE DEY BROS COLUMBIA KC 31279 (US)
047
2001
1-13 CD MELTON, LEVY & THE DEY BROS ACADIA ACA 8020 (UK)
524
*****
Mike Bloomfield Group at The Matrix in San Francisco in August 24 and 25, 1972 or 1973.
Also appearing was Copperhead with John Cipollina.
*****
October, 20,21, 1972 Winterland - Elvin Bishop, Copperhead, Mike Bloomfield, Notes: Also: The Sons
TIM DAVIS
1972
Producer Glyns Johns & Tim Davis
Recorded at Cinderella Sound, Madison, Tenn. and Wally Heider, San Francisco
Tim Davis, vocals all, rhythm guitar 9 - Michael Bloomfield, guitar 4,7,8 - Curley Cooke, rhythm guitar 1,2,7,8, 12 string
finger picking 5 - Boz Scaggs, guitar 1,3,10 - Rick Jaeger, drums 1,2,4,7,8,10 - Doug Killmer, bass 1,2,4,7,10 - Ben Sidran,
piano 1,4,7 - (Pete & Coke) Escovedo Bros, timbales, congas 1,7 - John Wilmeth, trumpet 1 - Mel Martin, tenor sax 1,
piccolo flute 1,7, bass 1 - Reverend Stallings, tenor sax 1 - Steven Steve Miller, organ 1,8,9 - Ken Adamany, piano 2,8,10
- Wayne Moss, bass 3,5,6,9, lead guitar 3 - Kenny Malone, drums 3,5,6,9 - Russ Hicks, steel guitar 3,5,6 - Bobby
Thompson, banjo 3, rhythm guitar 3,6,9 - Charlie McCoy, harp 3,6,9 - Buddy Spicher, violin 3,5 - John Harris, piano 5,6,9 Reggie, Georgie and Jamie Ente, The Third Wave, backing vocals 7 - John Kahn, bass 8 - Glyn Johns, maracas 10
1. Baby Wont You Come Out Tonight
2. Boogie Cadillac
3. Country Heart And Soul
4. Only Yesterday
5. Tomorrow Time
6. So Hard To Make My Way
7. Take Me As I Am (Without Silver Without Gold)
8. On The Other Hand Baby
9. Winter Song
10. Get It Hot
The second solo album from drummer in the Steve Miller Band. MB plays a delicate acoustic guitar on the title track.
1972
1972
1972
1972
425
292
235
*****
MILLIE FOSTER
1972
Recorded at Golden State Recorders - Prod. Leo de Gar Kulka
Millie Foster, vocals - Michael Bloomfield, guitar - Eddie Duran, guitar - Mark Naftalin, keyboards - Ed Wetteland, organ
& arrangements - Bill Nowracki, drums - Mario Seraci, bass
1. This Train (2.11)
2. Every Time I Feel The Spirit (4.39)
3. Didnt It Rain (3.08)
98
1-10 - LP MILLIE FOSTER FEELS THE SPIRIT MGM SE 4897 (US) DJ wh. lab. copy
207
1998
253
*****
1972 (circa)
1974 (circa)
1975 (circa)
1976 (circa)
1978 (circa)
1990 (circa)
King Koop, guitars Bobby Love, vocals 3 Bianca Thornton (Lady Bianca), backup vocals 3 Steve
Schuster, sax, 3 Paul Jones, trumpet, 3 Tom Wyman, dr 3 Ollie Ignacio, bss 3 Pete Escovedo,
congas 3
King Koop, guitars Ron Stallings, sax 10 Steve Funk, p 10 Ollie Ignacio, b 10 Tom Wyman, dr 10
King Koop, guitars 4 Jim Stewart, vocals 4 - Dave Kesner, p 4 Tom Dollinger, dr 4 Stu Feldman, b 4
Ron Stallings, sax 4
King Koop, guitars Steve Funk, keyb 8 Bill Meeker, dr 8 Mike Lansil, b 8
King Koop, guitars Valerie Rodriguez, vocals 9 Jovin Stein, flute 9 Alex Arguelo, guitar, backup
vocals 9 bobby Love, b, backup vocals Sam Steverson, backup vocals
King Koop, guitars Higb Narjkabdm vocals 5 Bob Baines, b 5 Paul Tade, dr 5 Steven Hague keyb.
Gary Macrae, Alice Rollins, Shelly Furse, backup vocals
King Koop, guitars - Gloria Davis, vocals 1,2 Ron Stallings, sax 1,2 Kincade Miller, keyb. 1,2 Jeff
Myer, dr. 1,2 Bobby Love, b 1,2
99
456
*****
100
Michael Bloomfield, guitar, vocals 2, banjo 14,15 - Nick Gravenites, lead vocals 1-9,12,14,15 guitar - Paul Butterfield, hca
1-3,7-9,11,12,14,15 vocals - Maria Muldaur, lead vocals 3,5,10,11 guitar, hand claps 9 - Merl Saunders, organ, piano - John
Kahn, bass - Christopher Parker, dr - Annie Sampson, lead vocals 7,13
Starring: Jane Fonda, Donald Sutherland and Peter Boyle. Co-starring: Garry Goodrow, Howard Hessman, John Savage.
Directed by Alan Myerson.
1. Swing With It (2.46)
w/m Gravenites & MB
2. Brand New Family (2.28)
w/m Gravenites & MB
3. Womans Love (2.25)
w/m Gravenites & MB
4. Make the Headlines (1.52)
w/m Gravenites & MB
5. Georgia Blues (2.08)
w/m Muldaur, Gravenites & MB
6. My Bag (The Oysters) (3.15)
w/m Gravenites & MB
7. Common Ground (2.16)
w/m Gravenites & MB
8. Being Different (2.44)
w/m Gravenites & MB
9. Ive Been Searching (2.10)
w/m Gravenites & MB
10. Do I Care (3.07)
11. Lonesome Star Blues (4.17)
12. Here I Come (There She Goes) (2.10)
w/m Gravenites & MB
13. If You Cared (2.22)
w/m Gravenites & MB
14. Theme From Steelyard Blues (Drive Again) (2.35) w/m Gravenites & MB
15. Theme From Steelyard Blues (Drive Again) (2.16) single w/m Gravenites & MB
16. Theme From Steelyard Blues (Drive Again) 9 radio spots with snippets of the song
A great soundtrack to this non-box-office success, it sank with no trace and was hard to find already in 1974, but its a must
for collectors. Track (11) is credited to Maria Muldaur, but its the melody from It Takes a Lot to Laugh, It Takes a Train
to Cry. Tracks (14,15) appear to be different takes.
1973
504
1973
6,14 - 7 STEELYARD BLUES (Drive Again)/MY BAG WB 7637 (US) wh.lab. promo
231
1973
1,15 - 7 STEELYARD BLUES (Drive Again)/SWING WITH IT WB 7674 (US) wh.lab. promo 250
1973
236
1973
126
1974
1974
199?
112.309
290
*****
Oct. 8, 1972 Voter Registration Benefit, Winterland, SF Rita Coolidge, Kris Kristofferson and 23 others amnong them
Michael Bloomfield and Friends
*****
THE MILL VALLEY BUNCH
1972
Recorded at the Golden State Recorders, San Francisco, California Producers Michael Bloomfield, Nick Gravenites, Rick Dey & Leo de Gar Kulka
Michael Bloomfield, guitars, vocals 2,6,11, piano, bass - Spencer Dryden, dr., perc. - Rick Jaeger, dr - Reinol Dino
Andino Cuba? congas - Russell Dashiel, guitar, vocals - Nick Gravenites, vocals 4,7,9, guitar - Jeffrey James, dr. - Mark
Ryan, bass - John Kahn, bass, piano - Lee Michaels, organ, piano - Mike Shrieves, dr - Freeman Lockwood, fiddle 1 Chicken Billy Thornton, vocals 1 - Ron Cimille, ac. rhythm guitar - Ron Rev Stallings, vocals 1 - Fred Olsen/James
Burton?, guitar - Rick Dey, bass, guitar, vocals 8? - Ira Kamin, piano, organ - Tom Richards, 12-string guitar - Mark Naftalin, piano, organ, accordion - Craig Tarwater, guitar - Bill Vitt, dr. - Barry Goldberg, keyboards 4? - Ace Of Cups
101
(w/Denise Jewkis), background vocals - Jeanette Jones, vocals 3 - The Pointer Sisters, background vocals 3 - Kathi
McDonald? - Tony Doe Dey? dr - Steve Doe, piano - Doug Doe, bass - Stan Doe Morrison? - (all four from Blue
Gravy)
1. Ive Had It (3.01) (3.27)
2. Young Girls Blues (Janis Blues) (Janices! Song) (3.41)
3. What Would I Do Without My Baby (4.42) (5.16)
4. Settle It in the Bedroom, Baby (Bedroom Blues) (7.09)
5. Jimmys Blues (Jimmies Blues) (Leos! Blues) (2.40) (2.52)
6. Let Me Down Easy (3.28) (6.25)
7. (Your) Hollywood Blues (Yo Hollywood) (4.27) (4.20)
8. Lettin Go Aint Easy (3.45) (4.15)
9. Last Call Blues (4.45) (see 17)
10. Honky-Tonk Blues (1.57)
11. Betty & Dupree (3.35)
12. OOH-OOH-OOH, LA, LA, LA (3.18)
13. Run for Cover (3.30)
14. Mellow Mountain Wine (4.41)
15. Bye Bye Im Going (2.16)
16. The Bells Are Gonna Ring (3.52)
17. Last Call Blues (Go Home Blues) (5.05) (Crowd-mix)
w/m MB
w/m MB
w/m Diane Gravenites
m MB (instrumental)
w/m MB
w/m Diane Gravenites
w/m Richard Dey? or MB?
w/m Diane Gravenites
w/m MB
w/m MB
w/m MB
w/m MB
w/m MB
w/m MB
w/m Diane Gravenites
The timings in the first row are from the vinyl release and the second (or only) row is all from the CD and is the actual
playing time (there are several seconds of silence between tracks). Generally the CD versions are longer.
Let Me Down Easy says (2.49) on the album label and the cover, but it plays (3.28) and fades out right after the vocals
and the guitar stops. On the CD it plays (6.25) due to a long piano/organ ending. It is very nice indeed, but understandable
that it was shortened on the album release. Even the long version is faded out! Almost the same goes for track (8): (2.59) on
the cover, plays (3.45) and the CD goes to (4.15) before fading. Track (1) is faded out early on the vinyls as well as track
(3), (4) and (8). Track (7) is a few seconds longer on the vinyls!?
The cover to the album tells the story about an alternate mixed version of Last Call(9): Originally we mixed in authentic
bar sounds of drunks and crowd, but on last thought we decided to leave that magic spell up to the listener. On the CD
its the crowd-mix thats used. It ends with a slamming door!
The actual players on the tracks are still anybodys guess. Nick Gravenites sings lead vocal on the tracks written by his wife
(or maybe its a copyright stunt? On the CD release they are credited to Nick). Some of the titles differ from record to
record.
The album was originally released in Germany.
1972
1,2 - 7 - YOUNG GIRL BLUES/IVE HAD IT MGM K 14644 (US) wh.lab. DJ copy
262
1972
498
1972
1-9 - LP CASTING PEARLS VERVE V6 8825 (US) DJ copy white label promo
154
1972
021
1976
036
1996
114
*****
December 22, 23 1972 Winterland - Steve Miller, Mike Bloomfield, Roxy Music
*****
MITCHELL BROTHERS FILM GROUP - SAN FRANCISCO
1970s?
Producers Jim & Artie Mitchell, San Francisco
102
The Mitchell Brothers made several pornographic movies around mid to late 70s. Sodom & Gomorrah was one of them
and perhaps the only one where MB was involved in the score.
Artie Mitchell as producer and director in the 70s:
Flesh Factory - 1971
Rabins Revenge - 1971
Rampaging Nurses - 1971
Reckless Claudia - 1971
Resurrection Of Eve - 1971
Behind The Green Door - 1972
Sodom And Gomorrah - 1974
CB Mamas - 1976
Beyond DeSade - 1979
Never A Tender Moment - 1979
Woman Of The Night - 197?
390
*****
103
The stories about this congregation of superstars are numerous. The back cover tells that the players left one after the other,
because of dissatisfaction. In the end there was recorded a fine album. There could of course have been more guitar playing
from MB all over, with three stars, his role is OK. Maybe the biggest mistake was to let John Hammond sing all the songs.
The Columbia Playback promo EP also has tracks by Copperhead and Gentlehood. The Triumvirate track The Trip has
nothing to do with the soundtrack that The Electric Flag recorded in 1967; its a Dr. John original. One can only wonder
why it was left off the album, not because its something special or that it has great playing by MB, but because there was
space enough to include it, with only a little more than 30 minutes of music on the LP.
1973
200
1973
259
1973
1973. May
011
1973
267
1983
1983
024
1987
278
199?
484
199?
186
199?
294
199?
2006
497
2008
518
*****
Feb. 23 & 24, 1973 Paul Butterfields Better Days, The Elvin Bishop Group, Mike Bloomfield & Friends
What a Jam there could have been these nights!
Feb. 28, 1973? Mike Bloomfield, Keystone Korner, SF
March 19, 1973? Elvin Bishop Group plays Keystone Korner , SF and Bloomfield was supposed to show for jam. Did he?
March 27,28, 1973? Mike Bloomfield and Nick Gravenites, Keystone Korner
104
5. Image of Me
6. Linda Lu
and probably a few more.
During the end of the Better Days set, Butterfield was joined on stage by: Elvin Bishop, Michael Bloomfield, Mark
Naftalin, Jerome Arnold, bass. Christopher Parker from Better Days played the drums.
1. Warm up Blues
2. Wont You Light On Me
3. Born In Chicago
4. East-West
After that everybody but MB and Naftalin left the stage. The pair played for 10 minutes.
1. Go home music (10 min. of improvisations)
Wally Heiders mobile studio recorded the first night.
The sound was so terrible, that it was decided NOT to record the next night. As it went, the sound the next night was
perfect!
Same bands played second night. The jam after the Better Days set had a few more players:
Billy Rich, bass (sharing duties with John Kahn) Richie Kellogg, hca Ralph Wash Boz Scaggs, vocal, guitar 5-6
1. Just To Be With You
2. Mellow Down Easy
3. Got A Mind To Give Up Living
4. Look Over Yonders Wall
5. Feel So Good
6. Loan Me A Dime
and probably a few more.
(See also 1971. Feb. 27. Maybe that one is from this date?)
*****
MICHAEL BLOOMFIELD & MARK NAFTALIN
1973. Apr. 22. Recorded live on Easter Sunday at radio station KSAN-FM, Sausalito, SF
Michael Bloomfield, vocals 1-3,5 guitar Mark Naftalin, piano, vocals 4,7 interviewer Jim?
1. Sonny Boy (8.41) with interviewers introduction
2. I Want You To Love Me (6.30)
3. Bloomers Blues In Bb (5.00)
M Bloomfield
4. Make It Up To You (4.30)
5. TV Hymn (2.18)
WM Bloomfield
6. I Wonder Why (8.14) (instrumental)
7. If You Need Me (4.39)
8. At The Cross (8.00) (instrumental)
A live in the studio recording where its obvious that MB is having fun. He plays and sings well, and is very informal when
introducing the songs. Track (1) must a song about Sonny Boy Williamson (II) about the danger of drinking too much
whiskey. On track (3) MB cracks up in laughter. He is trying to give a discrete cut off sing to the host but he does not see
it. The host finally starts talking an announces that Bloomfield can be heard on an upcoming LP with John Hammond and
Dr. John to be released in May.
MB introduces track (5) as a song I wrote today. Its about television, I wrote it a few hours ago. After the song he
admits: Im a TV addict and a radio addict in the car. Track (6) flows beautifully with both players improvising.
1973
1-8 CDR MIKE BLOOMFIELD & MARK NAFTALIN 1973 FM BROADCAST, KSAN-FM SF 348
105
*****
Bloomfield, Mark Naftalin & Friends in Chicago at the Aragon June 1, 1973
Michel Bloomfield and Mark Naftalin with local drummer and bass player:
Ravoli Theater, Bloomington, Indianapolis June 2, 1973. Pictures from the show can be seen in:
1997 July Vintage Guitar, vol. 11 No. 10.
Michael Bloomfield and Friends at Winterland June 23, 1973
*****
KINGFISH
1973-85
Matt Kelly, lead vocals 4,5, rhythm guitar 1,2,7-9,11 background vocals 1,10 harp 1,2,4-7,9,10,12 - Dave Torbert, lead
vocals 1,8,10 bass 1,2,4,5,7-12 - Patti Cathcart, background vocals 1 - Robbie Hoddinott, lead guitar 1,2,4,5,7-11 - Mick
Ward, piano 1 - Chris Herold, dr 1,5,7-11 - Barry Flast, Hammond B-3 1, piano 2,4, lead vocals 3,6, bass 3,6 background
vocals 4,5,10 keyboards 7,10,12 - John Lee Hooker, lead vocals 2 - Michael Bloomfield, lead guitar 2 - Bob Weir,
acoustic guitar 2,5,7,9-11 lead vocals 7,9,11 background vocals 10 - Garth Webber, lead guitar 3, 2nd guitar solo 7,9 - Fred
Campbell, rhythm guitar 3, background vocals 6 - Barry Frost, piano - Michael ONeil, rhythm guitar 4, slide guitar 4,12
lead vocal 12 - Dave Perper, dr 4,12 - Dave Rea, banjo 5 - Jim Weiss, backgr. vocals 6 1. Mess Around*
2. Put Your Hand On Me (4.52)
3. My Pledge Of Love
4. Taste Of The Devil
5. Fox On The Run
6. Feels So Good
7. Hidden Charms
8. School Days
9. Road Runner
10. Young Blood
11. Promised Land
12. Key To The Highway
Previously unreleased studio and live material recorded in 1973 until the present (1985) alongside the next entry by
Kingfish. From the booklet to the CD release: Matthew Kelly: In fact John Lee Hooker and Mike Bloomfield graced us
with their presence during one of these early sessions!
1985
1991
199?
1-12+? - CD DOUBLE DOSE RELIX RRCD 2035 (US) (LP 2005 + LP 2016)
1993
275
1997
201
193
*****
An early picture of MB and John Lee Hooker
*****
MATT KELLY (KINGFISH)
1973-85
Sausalito Record Plant - producer Matt Kelly
106
Matt Kelly, rhythm guitar 1-5,7,9,11, hca 6,7,9,11, percussion 2, background vocals 1,2,5,7,9,11, lead vocals 8, lead guitar
11,12 slide guitar 12 - Michael Bloomfield, lead guitar 6,8 - Bob Weir, lead vocals 1,3,7, acoustic guitar 3,7, background
vocals 7 - Brent Mydland, background vocals 1, lead vocals 4,5,11, - Rahni Kugal, background vocals 1 - Rahni Rains,
background vocals 3,6,7,10, lead vocals 7 - Barry Flast, background vocals 1,5 - Stan Cotey, lead guitar 1,11, rhythm guitar
1, synthesizer 4,5 - Colby Pollard, bass 1 - J.D., synthesizer 1 - Red, synthesizer 1 - Chris Herold, dr 1,3,9 - Dave Torbert,
bass 2-4,6-12, lead vocals 2,9,10, background vocals 9,11, - Patti Cathcart, background vocals 2,5-7,9,10, lead vocals 6,12
- Robbie Hoddinott, guitar 2,4,5,8,12 - John Cipollina, slide guitar 2 - Jerry Garcia, lead guitar 3,7 - Ron Eglit, pedal steel
guitar 3,7 - Nicky Hopkins, piano 4,5,11, - Bob Wright, Hammond organ 4,6,7,11,12 - Sam Clayton, congas 4 - Mark
Nielsson, dr 4 - Fred Campbell, bass 5 - Bill Kreutzman, dr 5 - Scotty Quick, rhythm guitar 6,12 - Jerry Miller, lead guitar
6, rhythm guitar 9,12 - Dave Vogel, piano 6 - Jerry Martini, horns 6,8 - Bill Cutler, background vocals 7 - Mick Ward,
piano 7,9 - Mel Brown, rhythm guitar 8 - Michael ONeill, slide guitar 8 - Mark Naftalin, piano 8 - Bobby Cochran, lead
guitar 9 - Dave Nelson, guitars 10 - Buddy Cage, pedal steel guitar 10 - Keith Godchaux, piano 10 - San Mateo Baptist
Church Choir 12 - Dave Fogal, piano 12 1. Eyes of the Night (2.42)**
2. Mona (3.06)*
3. Dangerous Relations (3.27)*
4. Over and Over (3.38)**
5. Shining Dawn (4.11)**
6. It Aint Easy (2.07)**
7. Ridin' High (4.59)*
8. Next Time You See Me (2.52)*
9. Mess Around (2.52)**
10. Harpoon Magic (1.38)*
11. If Thats the Way (3.44)**
12. I Got to Be Me (3.15)*
Recorded in 1973* & 1980** alongside the previous entry by Kingfish. Previously unreleased material.
1985
181
1987
1-12 - CD A WING AND A PRAYER RELIX RRCD 2010 (US) (as by KINGFISH)
192
1993
Michael Bloomfield and friends recorded at a small venue. The vocals are almost drowned by his guitar, which stands
crystal clear in the fore front. You can almost study his playing technique here. All the fills and the solos stand out with
all other instruments quiet in the back ground, a fine example of his playing. The solo on Ray Charles classic song - track
(4) - is fine and gets a special applause. The track is unfortunately cut off at the end.
107
What you can hear of Roger Troys singing is as always splendid. For track (6) MB calls up (? Olson?) a female blues
shouter to sing a song and it inspires him to play a fine and rather long solo. After approximate 8 minutes the
instrumental intro track (7) turns into Sweet Little Angel. The final track again has a rather fine guitar solo.
1973
419
*****
MICHAEL BLOOMFIELD
1973
Prod. Michael Fusaro - Columbia Studios SF
Michael Bloomfield, guitar all, vocals 1,3,4,10, organ 5,6,11, tambourine 5 - Barry Goldberg, organ - Mark Naftalin, piano,
vibes, marimba 2, accordion 10, trombone - Roger Jellyroll Troy, bass, vocals 5,6,11 - George Rains, drums - Nick
Gravenites, vocals 2,8,9 - Ron Stallings, vocals 7, tenor sax - Plus: Howard Whales, keyboards - Jimmy Vincent, rhythm
guitar - John Wilmeth, trumpet - Mel Graves, tenor sax - Harry Mann, alto sax - Hart McNee, baritone sax - Chuck Bennett,
trombone - Background vocals: Joe Bullock, Ollie Griffin, Tommy Tony - George Marsh, drums 5,6,11 - Duke Tito & The
Marin County Playboys, horns, background vocals 5,11 - Singers of the Church of God in Christ, background vocals 6
1. Been Treated Wrong (5.09)
2. When It All Comes Down (3.02)
3. Lights Out (1.46)
4. Baby Come On (3.45)
5. Shine On Love (4.56)
6. When I Get Home (4.25)
7. Try It Before You Buy It (3.45)
8. Midnight On The Radio (2.53)
9. Your Friends (6.50)
10. Tomorrow Night (2.06)
11. Let Them Talk (5.10)
12. Woodyard Street (3.07)
13. TV Hymn
14. Im Sinking
15. Take Me Fast
16. T and R Blues
17. Farewell Song
w/m MB
w/m MB
w/m MB
w/m MB
w/m MB
w/m MB
w/m MB Inspired by Randy Newman
The cover shows MB with his mother. The album didnt leave a trace and the reason could be that it probably never even
got a release! (1973 or 1975 promo copies are known to exist). Even the CBS special product CD is hard to find. Its a good
album with fine playing from a great band. Its a typical MB album with uneven performances. The lead singing is split
between 4 people. There are some great tracks like Your Friends, which is what MB and his friends do best: music thats
bluesy, slow and with a feeling. A great track. Also a great vocal performance on (1) from MB.
Its not exactly a blues album, but its rooted in the blues for certain. Its not a Rock n Roll album either (well, the Dr.
John song Lights Out certainly is a rocker!). The MB penned (2) even has a Caribbean feel to it due to Mark Naftalin
playing the marimba. Nice bottleneck on Baby Come On, a track any guitarist would be proud of. The title track is the
weakest of them all.
The highlights on this record are Roger Troys contributions. He sings lead on three gospel-like songs: Shine On Love,
When I Get Home and Let Them Talk. Its understandable that all three were used again when Living in the Fast
Lane was released in 1980.
Tracks (13-17) according to Ed Ward, should be outtakes from the session.
1975?
1-11 - LP TRY IT BEFORE YOU BUY IT COLUMBIA PC-33173 (US) Probably never released
1-11 - CD TRY IT BEFORE YOU BUY IT CBS SPECIAL PRODUCTS A 21265 (US)
048
1980
020
1981
090
108
1982
1983
1983
024
198?
071
1997
200?
2006
531
2008
518
*****
June 22, 1973 Winterland - Mike Bloomfield, Dr. John, Sylvester & The Hot Band,
Mike Bloomfield Replaced Its a Beautiful Day
MICHAEL BLOOMFIELD
1973-74?
Guest disc jockey at KSAN-FM, San Francisco
Michael Bloomfield speaks about the records from his own collection. Its a guess that its from 1973-74, only because the
youngest record dates from 1973. He mentions that this is the second time he has been a guest DJ on this radio station.
The total time is (72.37), and when presenting the last track he mentions, that there is half an hour left of the program.
The records MB plays are:
109
355
*****
110
344
*****
January 12, 1974 Q.E. Theatre, Vancouver
Feb. 1,2, 1974 Winterland - Van Morrison, Bloomfield/Naftalin, Alice Stuart & Snake, Notes:
Van w/ Caledonia Orchestra Featuring Dorothy Morrison
March 9, 1974 - Mike Bloomfield & Mark Naftalin Band live in Santa Cruz Civic Auditorium, California
*****
MAR 31 - APRIL 1, 1974 MICHAEL BLOOMFIELD and Friends
* AL KOOPER and JOHN HAMMOND were some of the friends that jammed with Bloomfield
on the first night of the gig.
*****
MICHAEL BLOOMFIELD AND AL KOOPER
1974. Mar. 31. Live The Bottom Line, New York recorded for a radio broadcast on WNYU New York FM radio
Mike Bloomfield, guitar, vocals 1,2,7 - Al Kooper, piano, vocals 9 - Barry Goldberg, organ - George Chuck Rains, drums
- Roger Troy, bass, vocals 3-6,8,10,11
1. Dont You Lie To Me (6.02) (incl. Bloomfields introduction of the band)
2. Linda Lu (4.32)
3. Sweet Little Angel (11.34)
4. Unchain My Heart (6.36)
5. Inside Information (5.22)
6. Shadows Told Me All (5.28)
7. Glamour Girl (8.31)
8. Heartbreak Is Killing Me (7.09)
9. Got To Use My Imagination (4.07)
10. Let Them Talk (7.52)
11. I Smell Trouble (9.49)
12. If I Could Start All Over Again (4.45)
The bootleg More Live Adventures includes only a part of the first set. A tight band with great solos from all of them.
Especially great singing from Roger Jellyroll Troy on Sweet Little Angel. Al Kooper plays reminiscent of what he did
on Dylans If Dogs Run Free.
111
It appears that MB is a bit nervous or irritated, he answers back to the audience when ever someone yells for a special song.
Between songs he gives directions to which key and order of solos and so on. He plays fine guitar throughout the show. The
highlight being Glamour Girl and the solo in Let Them Talk.
The tape with the complete show comes from a different (rather fine, but not as good) source as the bootleg, on which some
editing and splicing have been done. MBs introduction of the band is spliced to track (2) on the bootleg. The bootleg
probably is taken from the radio broadcast.
The timings are all from the complete show and are inclusive (a lot of) strumming, clapping, yelling at the soundboard man
or the audience! and so on.
1974
1974
19??
19??
336
174
11 - 7 EVERY NOW AND THEN mono/stereo ATLANTIC 45-3222 (US) promo comp. cov.
191
1974
258
1974
465
1974
2,12 7 EVERY NOW AND THEN/DOCTOR OH DOCTOR ATLANTIC (D) pic. cover
1974. Nov.
012
1974
1-10 - LP THE BAND KEPT PLAYING ATLANTIC SD 18112 (US) diff. label
121
112
2002
1-10 - CD THE BAND KEPT PLAYING WOUNDED BIRD WOU 8112 (US)
*****
Press photos of the reunited Electric Flag
Michael Bloomfield
Nick Gravenites
Roger Troy
Buddy Miles
Barry Goldberg
July 18-22, 1974 Ozark Music Festival, on the Missouri State Fairgrounds, Sedalia, Missouri Electric Flag
August 24, 1974, Fans Stadium, Decatur, Illinois Electric Flag
Electric Flag (and Moby Grape) should have played Winterland on Oct. 13, 1974 but the whole show was cancelled.
Nov. 1. 1974 - Winterland - Mahavishnu Orchestra, Electric Flag, Moby Grape
Footage exists of Electric Flag playing:
As I Woke Up This Morning
Love Affair
The Band Kept Playing
What In The World Has Come Over You
Probably from the Ozark Music Festival that was filmed by NBC
*****
MICHAEL BLOOMFIELD & FRIENDS
1974. April 6. Live Gusman Hall, University of Miami, Coral Gables, Florida
Michael Bloomfield, guitar, vocals 2,4,7 Roger Jelly Roll Troy, bass, vocals 3,5,6,8,9,15 Mark Naftalin, piano, organ,
vocals 13 George Chuck Rains, drums Special guest on 10-12: Dion Dimuci, vocals
1. Introduction (0.17)
2. Mary Ann (3.57)
3. Sweet Little Angel (11.19)
4. Linda Lu (4.02)
5. Shadows Told Me All (3.51)
6. Inside Information (4.06)
7. Children, Children, Children (5.53) (I Cant Hear You)
8. Never Be Lonely (4.58)
9. I Smell Trouble (8.49)
10. The Wanderer (3.21)
11. Whole Lotta Shakin Goin On (4.42)
12. A Teenager In Love (2.16)
13. Big Mamas Gone (3.38)
14. Work Song (6.31)
15. Jelly Roll Medley/Stormy Monday (15.58)
16. Never Be Lonely (3.48)
Another fine show. Track (3) stands out once more with Roger Troy singing with all he got and MB playing the best he can.
Again on track (9) the two stars raise a storm. MB is certainly playing some of his best solos. During the organ solo,
someone (Mark Naftalin?) praises the guitar solos!
For a minute before track (14), MB has a duel with the audience thats yelling for Season Of The Witch and all he can
say is: That song makes me wanna puke. I hate that song, I wouldnt play that song on my mothers dying request, man!
and then he bursts into Work Song with fire blazing out of the monitors! Even played with only one guitarist it sounds
great. Neither he nor Naftalin (great organ solos) have forgotten it. Another highlight. More highlights to come the
medley (15) have MB playing a fine inspired intro and Troy once more singing his heart out. Great performance. This band
sure is tight. They also work fine supporting the surprise guest Dion on the first two songs. MB even plays a fine solo on
track (10). On track (12) it goes down the drain, but fun to hear anyway.
113
Track (13) Big Mamas Gone is delivered at a frantic speed. Mark Naftalins vocal performance is very short. He is a
gifted piano player. After three frantic minutes it ends and someone in the audience says: What was that?
This is our last song, thank you very much ends MB the show before (15).
The set list have been changed to what seems to be the right order, as there are different tapes circulating with the tracks
in different order.
1974
352
*****
MUDDY WATERS & FRIENDS
1974. July 18. Recorded live in Chicago Released as video: Blues Summit In Chicago
Muddy Waters, vocals, guitar 1-3,6,9,11 Michael Bloomfield, guitar 1-11 Dr. John, vocals 10, piano 1,2,5-11 Phil
Guy, guitar 7-9 - Willie Dixon, vocals 7,9,11 Koko Taylor, vocals 2,7,11 - Buddy Miles, drums 2,6-11 Johnny Winter,
vocals 2,8, guitar 6-11 - Junior Wells, hca 3-6,8-11, vocals 2,4,5 Nick Gravenites, vocals 2,4, intro 3 - Muddy Waters
Band (probably): Al Radford, bass 1,3-11 ? guitar 1,3-5 Willie Big Eyes Smith, drums 1,-3-5 Pine Top Perkins,
piano 1,3,4,11
1. Blow Wind Blow/Introduction (4.12)
2. Welcome and talk about the blues (all)
3. Intro by Nick Gravenites/Long Distance Call (10.41)
4. Messin With The Kid (3.47)
5. 10 Long Years (6.03)
6. Mannish Boy (6.20)
7. Wang Dang Doodle (3.12)
8. Walkin Thru The Park (4.20)
9. Hoochie Coochie Man (5.09)
10. Sugar Sweet (4.20)
11. Got My Mojo Working (6.16)
The concert is very informal. At the beginning of track 2, everybody comes in to greet the Father Muddy Waters. Dr.
John even hands over a Mojo.
Bloomfield is the only one on all tracks. He plays more rhythm than lead, but has a couple of short solos. Johnny Winters
playing is very good and he gets the chance to sing one of Muddy Waters songs (8). A fine video with lots of legends.
Originally aired on October 12, 1974.
1974
328
*****
MICHAEL dABO
1974
Recorded at CBS Studios, London - Rudy Records, San Francisco Quadraphonic Sound Studios, Nashville - His Masters Wheel, San Francisco - producer Elliot Mazer
Michael dAbo, vocals, electric piano 1,4,5 piano 2,3,5-10 clavinet 3,7 tambourine 7 - Michael Bloomfield, guitar 3 - Mark
Naftalin, organ 3 - Elliot Mazer, bass 3,9,10 cowbell 7 - Teddy Irwin, rhythm guitar 1, lead guitar 4,5,7,9 - Rab Noakes,
rhythm guitar 1,4,5,7,9 vocals 4,7 - Bobby Thompson, banjo 1 - Gary Taylor, bass 1,4,5,7 vocals 4 - Denny Seiwell, dr 1,35,7,9 - Ben Keith, pedal steel guitar 1,4 dobro 7 - Graham Nash, rhythm guitar 6, hca 6 - The Jordanaires, vocal backing
1,5,10 - Brass: Sons Of Champlin 5,9
1. Fuel to Burn (2.45)
2. This Is Me (1.25
3. Broken Rainbows (3.30)
4. The Last Match (3.08)
5. I Go Where My Spirit Leads Me (2.55)
6. Handbags & Gladrags (4.54)
7. Sitting on a Wood Floor (3.17)
114
248
1974
038
19??
BARRY MELTON
1974
Barry Melton, vocals, guitar Michael Bloomfield, guitar bass drums hca horns 5 fiddle 6 2nd vocals 7,9 flute
7 bassoon? 7 bag pipe 10 background vocals
1. Jesse James (Way Down Under) (3.02)
2. Ships On The Mountains (3.38)
3. Looking For A World (3.05)
4. Drive Along (2.44)
5. Love Is A Mystery (3.06)
6. Strange Changes (3.47)
7. You Gave Me The Sunshine (3.05)
8. I Am Just A Stranger (4.20)
9. Watch Out Baby (3.43)
10. Would You. (3.23)
From an unreleased Barry Melton solo album. The players could easily be the same as on the 1972 album: MELTON,
LEVY & THE DEY BROS. The titles are guesses based on the lyrics. There is some fine guitar playing though out the
album, but nothing that screams MB!
Nice music all over in the pop-folk-rock genre. Track (4) Drive Along is fine rocker though with Melton belting out and
snarling a good vocal.
Barry Melton was The Fish in the original folk duo: Country Joe & The Fish where Country Joe McDonald of course
was the other half. The duo later evolved into the band of the same name and great fame.
1974
457
*****
MICHAEL BLOOMFIELD
1974
Recorded in San Francisco, producer Michael Bloomfield
Michael Bloomfield, guitar - Ray Kennedy, vocals - Mark Naftalin, piano - John McFee, pedal steel guitar - Roger Troy,
bass - George Chuck Rains, drums - backing vocals ?
1. Why Lord, Oh Why (2.46)
2. Sammy Knows How To Party ()
w/m MB
w/m MB
Another unreleased gem. Maybe audition for Ray Kennedy for the KGB project?? Probably not. Ed Ward claims it to be an
outtake from Try It Before You Buy It, but the personnel listed dont point in that direction.
1983
1983
024
115
2008
518
*****
MICHAEL BLOOMFIELD & FRIENDS
1974?
Michael Bloomfield, guitars - Roger (Jellyroll) Troy, bass, vocals
1.
This is probably a live recording, but its cut short both at the start and at the end. Its probably from the show at Gusman
Hall below.
*****
1979
1 LP BETWEEN THE HARD PLACE AND THE GROUND TAKOMA TAK 7070
1984
1998
2006?
335
394
*****
The Michael Bloomfield Band live at Winterland January 7, 1975
116
*****
Michael Bloomfield & Friends live at the Bottom Line, NY from January 24 to 26, 1975
Mike Bloomfield with Nick Gravenites, Barry Goldberg, Roger "Jelly Roll" Troy, Mark Naftalin and George Rains
Don Preston Group
Jan. 24. Jeremy Steig sits in with Mike Bloomfield
Jan. 26. Paul Butterfield jams with Bloomfield and Friends.
*****
Jan. 7,11, 1975 Winterland - Mike Bloomfield, Howard Wales, Raw Soul
*****
MICHAEL BLOOMFIELD
1974. Nov. - 1977. May
Recorded live at The Old Waldorf (2-9), San Francisco
The , Sausalito, CA (1) recorded live with an audience for radio broadcast on KSAN-FM
prod. Norman Dayron
Recording dates: 1: Nov. 10, 1974 - 2,7: March 14, 1977 - 3,4: May 16, 1977 - 5: Feb. 27, 1977 - 6,8: Dec. 19, 1976 - 9:
Mar. 13, 1977
Michael Bloomfield, guitar - Roger Jelly Roll Troy, lead vocal 1,7,8,10,11 bass - Mark Naftalin, piano 1-3,5-9 - Barry
Goldberg, organ 1 - Mark Adams, hca 1 - Georgie Rains, dr 1 - Bob Jones, lead vocal 2,4 dr 2-9 - Nick Gravenites, lead
vocal 3,5,6,9,12 rhythm guitar 3,5,6,9 - ? piano 4 1. Blues Medley: Sweet Little Angel/Jelly Jelly (7.45)
2. Feel So Bad (4.26)
3. Bad Luck Baby (5.52)
4. The Sky Is Cryin (5.53)
5. Dancin Fool (3.49)
6. Buried Alive In The Blues (4.55)
7. Farther Up The Road (3.16)
8. Your Friends (7.18)
9. Bye, Bye (4.25)
10. Move Over (4.07)
11. Bring Your Sweet Self On Home (5.56) (?)
12. Crazy Jake (4.15)
13. Blue Highway (6.01)
Norman Dayron recorded Mike Bloomfield and Friends during half a year from December 1976 until May 1977. This is the
only stuff officially released to date. Beautiful playing from all the musicians. Really great atmosphere over the shows. We
can only wish for more to come out of the vaults. Track (1) is from the above listed KSAN-FM broadcast.
From a promotional tape for the CD Live At The Old Waldorf come four outtakes that could easily have been on the CD.
The personnel on the outtakes probably are: MB Troy Gravenites - Naftalin Bob Jones. Track (10) is an up-tempo
rocking tune. Track (11) is a slow bluesy song with Roger Troy singing at his best and with a fine easy going solo from MB
of the kind he could play forever. Track (12) is the highlight with a sharp and stinging slide from MB and fine singing from
Gravenites. Track (13) another slow and bluesy song also has Gravenites on vocals and Troy on backing vocals and again
fine playing from MB. The song is faded out as it apparently could go on for a long time. These four gems should have
been on the CD.
1998
420
1998. Sep.
189
*****
117
1975. Jan. 25. Recorded live at The Bottom Line, New York Broadcasted on FM radio
Michael Bloomfield, guitars, vocals 3,8 - Nick Gravenites, vocals 4,5,10,11 guitars - Mark Naftalin, piano, organ 6?
(Barry Goldberg, organ 6?) - George Chuck Raines, drums Roger Jellyroll Troy, bass and vocals 1,6,9
Band intro by Art (?) 2
1. You've Been Wrong (4.37) (fades in)
2. Band Intro (0.33)
3. Orphans Blues (7.13)
4. Blue Highway (7.14)
5. Buried Alive in the Blues (5.51)
6. I'll Never Get Over Losing You (12.41)
7. DJ Announce (1.08)
8. Lights Out (2.02)
9. I Believe (7.30)
10. My Labors (7.18)
11. Wine (3.18)
Good FM Broadcast with some light hiss from the transmission. There is circulating a short and a long version of this. The
long version includes Wine as the last track, and then there is a third one wit only 6 tracks also cirkulating (with date 26th).
They all come from the same broadcast. Fine music is it anyway. Bloomfield shines all the way with this fine band.
Gravenites is singing very fine too. He is one of the really great vocalists in this genre.
Two shows were played each day from January 24 to 26, 1975. Don Preston was the opening act. All for 4$! Great playing
from MB. After (5) My Labors Gravenites introduces him as: Mike Bloomfield fantastic, fantastic guitar player! and
who can argue that?
According to the official Bottom Line home page, Paul Butterfield sat in on the 26th and Jeremy Steig (the jazz flutist) on
the 24th, so the radio broadcasted show must be from the 25th. In an e-mail from Jeremy Steig, he remembers to have played
with Bloomfield at the Bottom Line, but not when it was. He also tells that he sat in with Electric Flag in San Francisco at
Winterland.
Barry Goldberg was adverticed as playing these shows, but is not announced but is not announced during the band intro and
only on track 6 during the guitar solo is there a little audible organ present. It could be Naftalin doubling on piano and organ.
1975
486/338
*****
SPEAKEASY TV-SHOW - MICHAEL BLOOMFIELD, AL KOOPER, ALVIN LEE
1975
Recorded live for the NBC TV show Speakeasy, hosted by Chip Monck
Michael Bloomfield, piano 1, guitar 2,3,5 fire eating 4 - Alvin Lee, guitar 1,2,4,5 - Al Kooper, vocals 1, ac. guitar 1, piano
2,4,5
1. Lawdy Miss Clawdy (4.11)
2. Instrumental (4.11)
3. Major and Minor modes (0.17)
4. Fire Eating (1.07)
5. ber den Wellen (1.41)
Alvin Lee is presented along with Bloomfield and Kooper. It starts with a fine version of Lawdy Miss Clawdy with Al
Kooper hand-ling the vocals. The instrumental (2) is a slow blues. Track (3) is MB explaining on the guitar.
Track (4) is something special, Michael Bloomfield is eating fire, with Al Kooper laying down the dramatically musical
background! The host says: Im now very pleased to announce a major news story. If Michael gets through with this,
Electric Flag will tour again! MB says: Yeah! and then he starts on his trick explaining: There is nothing hard about fire
eating. You put your head back, get your mouth wet, and stick it right down your throat! Aaaahhhhhhhh. Again! The host
says: I feel like as though I should have a tutu on.
The last track (5) starts out as Johan Strauss waltz, but ends as a blues rocker. A very fine show that it must have been fun
to see. (In the good book, by Wolkin and Keenom, is a photo of MB eating fire).
118
1975
393
*****
CHARLIE MUSSELWHITE
1975
Recorded at Gold Star Studios, Los Angeles, California Producer Morey Alexander - exec. producer Billy Sherman Engineer Joe B. Mauldin (from The Crickets)
Charles Musselwhite, hca, vocals - King Bee Band: Karl Severeid, bass - Tim Kaihatsu, guitar - Larry Martin, dr - Ray
Advisee, horns - Guest Artists: Michael Bloomfield, guitar, piano - Barry Goldberg, piano, organ - Lynn Carey Momma
Lion, background vocal
1. Stranger
2. Business Man
3. Skinny Woman
4. Keys To The Highway
5. Candy Kitchen
6. Long As I Have You
7. Just Take Your Time
8. Early In The Mornin
197?
1975
197?
? - LP BEST OF THE BLUES 1969-72 RED HOT 6001 (US) Musselwhite best of
043
*****
BLOOMFIELD-GRAVENITES BAND
1976. Mar. 3. Live at the Pipeline Tavern, Seattle, Washington
Michael Bloomfield, guitar, vocals 6,11,13 - Nick Gravenites, guitar, vocals 1-4, 9,10,14,15 Roger Troy, bass, vocals
7,8,12 - Mark Naftalin, piano drums ?
1. Thinking bout my family
2. Buried alive in the blues
3. Dont come to my party
4. Blue Highway
5. Small walk in box
6. Women lovin each other
7. One of these days
8. Meet me in the bottom
9. My labors
10. Six weeks in Reno
11. Its about time
12. Your friends
13. Do your work at night
14. Gypsy good time
15. Goodnight Irene
1974
535
*****
Michael Bloomfield - Concert held at Marin Fine Arts Theatre in San Francisco bay area May 16, 1976
All-star cast with various performers
*****
119
BARRY GOLDBERG
1976
Recorded live (?)
Barry Goldberg, keyboards, vocals - Michael Bloomfield, guitar, vocals 1 - Charlie Musselwhite, harmonica - Harvey
Mandel, guitar - Vincent Bell, guitar - Neil Merryweather, bass - Eddie Hoh, drums
1. On the Road (6.24) (One More Mile)
2. Chicago My Hometown (4.17) (Sweet Home Chicago)
3. I Got A Woman (Dedication) (8.37)
4. Thats Alright Mama (4.17)
5. Milk Cow (Muscrat) (4.28)
6. A Taste Of Honey (organ serenade) (6.57)
7. Josephine (Crying For You) (4.33)
8. Suzie Q (6.10)
9. Medley (California Earthquake) (7.55)
10. Blue Suede Shoes (Trying Too Hard) (3.05)
A fine record, but the applause is added on. It might still be a live recording, but it could be from a studio session just as
well. It could also be from a much earlier date than 1976 (the release year), compared to the 1969 release of Barry Goldberg
and Friends.
1976
1-10 - LP RECORDED LIVE BARRY GOLDBERG & FRIENDS BUDDAH BDS 5684 (US)
Demonstration stamp in gold on back cover.
171
1976
1-10 - LP RECORDED LIVE BARRY GOLDBERG & FRIENDS BUDDAH BDS 5684 (US)
199
1993
1-10 - CD BARRY GOLDBERG & FRIENDS LIVE UNIDISC BDK 5684 (CAN)
KGB
1976
Recorded at The Village Recorders, West Los Angeles, California - producer Jim Price
Michael Bloomfield, guitars, vocals - Barry Goldberg, keyboards - Rick Grech, bass - Carmine Appice, dr - Ray Kennedy,
vocals
1. Let Me Love You (3.33)
2. Midnight Traveler (5.13)
3. Ive Got A Feeling (4.01)
4. High Roller (3.39)
5. Sail On Sailor (3.13)
6. Workin For The Children (3.17)
w/m Barry Goldberg/MB
7. You Got The Notion (3.30)
8. Baby Should I Stay Or Should I Go (4.59) w/m Barry Goldberg/MB
9. Its Gonna Be A Hard Night (2.47)
10. Magic In Your Touch (4.45)
11. Magic In Your Touch (3.29) single edit.
The group never was in the same studio to record. MB got the tapes and overdubbed his guitar parts. A good record from
another Super group.
Ray Kennedy was in the group Group Therapy, which released an LP in 1968 called: People Get Ready for Group
Therapy!
1976
11 7 MAGIC IN YOUR TOUCH MCA 40544 (US) Promo same both sides nops blue label
362
1976
273
1976
286
120
1976
2,11 - 7 MIDNIGHT TRAVELER/MAGIC IN YOUR TOUCH MCA 1478 (AUS) comp. cov.
401
1976. Apr.
5 - 7 SAIL ON SAILOR MCA 40573 (US) Red labels - Promo same both sides
378
1976. Apr.
5,6 - 7 SAIL ON SAILOR/WORKING FOR THE CHILDREN MCA 40573 (US) Comp. cov.
261
1976
010
1976
183
1976
MICHAEL BLOOMFIELD
1976. June 25. Radio City Music Hall, Newport Jazz Festival NY, NYC
Michael Bloomfield, guitar, vocals Mike Michaels, hca 1-4 Ira Kamin, piano 3-8 Bob Jones, drums 5-8 Doug
Kilmer, bass 5-8 intro by Art Weiner of New Audiences
1. Intro (0.30)
2. Kansas City Blues (3.40) with MBs introduction
3. Big City Woman (2.49)
4. Death Cell Rounder Blues (5.00)
5. Women Lovin Each Other
6. Unidentified
7. Mary Ann
8. Shake Rattle And Roll
This is a tape residing in the Library of Congress on shelf # RGA 0320-0321 (RWD 8023-8025)! It was recorded at the
12.00 am show in Radio City Music Hall, where apparently also Bobby Blue Bland and Muddy Waters played plus Fats
Domino who ended the show!
A superb recording taken from the soundboard or a similar source. Bloomer is in good spirit and plays like we love to hear
him: Dedicated, having fun and enjoying the public enjoying his music. This is a great tape, but not the greatest moment
MB has had on stage, but it deserves to be released as it has never been circulated before. In the introduction we are told
that Michael Bloomfield has been a great wish for them to present for a long time.
The first four tracks are all played with acoustic guitar. After (3) MB says: I dedicate that song to Terry Terriba(?) who
was a big city woman from way-out west. Then Ira Kamin is called up to play piano. All four tracks are low keyed but
sound great and get a fine response from the audience. Unfortunately this recording ends here with Death Cell Rounder
Blues.
1976
485
*****
JEMIMA JAMES
1976. Jul. 12. Snow Hill Studio, Hillsborough, NC (tracks 1-4, 7-11,14) Engineer: Hubert Deans
121
1-17 CD BOOK ME BACK IN YOUR DREAMS LABOR RECORDS LAB 7062 (US)
477
2005. July
538
*****
MICHAEL BLOOMFIELD & FRIENDS
1976?
Recorded live at radio station KSAN, San Francisco
Michael Bloomfield, vocals 1, guitar - Frank Biner, vocals 2 - Mark Adams, hca - Steve Taylor, bass? - Mark Naftalin?,
piano - ? drums
1. Women Lovin Each Other (4.16)
2. Maudie (4.22)
Two fine recordings from the legendary radio station KSAN. They were used in a Tribute to Michael Bloomfield aired on
radio station KFOG May 2, 1984, along with a track also recorded at KSAN on November 10, 1974, plus several interview
segments from the McCloskey interview from 1971. MB is presenting Frank Biner as a new singer from Berkeley, The
Bay Area. Biner also laid down vocals for Maudie that was released on Living In The Fast Lane in 1980. These two
recordings could be from around 1975-76. They are not known from any complete show. The host, Bonnie Simmons, dates
them as from the early 70s. The earliest recording it has been possible to find with Frank Biner is from 1975 with Tower of
Power.
1984
1,2 - CD - TRIBUTE TO MICHAEL BLOOMFIELD - KFOG ARCHIVES HOUR MAY 2, 1984 394
*****
122
123
A live recording that really shows how gifted a guitar player and singer MB was. His solo on (5) is eminent with a hard
attack, but still the gentle blues touch with long notes. This track - or even better the whole show - should be made available
for all. A really great, but hard to find gem.
The record is released by the little Swedish company Jefferson Records, based in Vallentuna, Sweden. Its a division of the
Scandinavian Blues Association (SBA) based (then) in Uppsala, Sweden.
All of the outtakes (12-23) are equally as good as the released tracks. After releasing the I Blueskvarter CDs, the
complete show from this festival, could be the next release! Outtakes: 14,16,17,22 are on the released LP, but with or
without an introduction.
1976
272
1976
387
*****
Michael Bloomfield Live at Antones September 7-9,1976?
*****
MICHAEL BLOOMFIELD
1976
Producer Michael Bloomfield & Eric Kriss - Exec. producer Jim Crockett Blossom Studios
Co-producer Norman Dayron
Michael Bloomfield, vocals 2,4-6,9-13 guitar 1-13 bass 2,13 piano 9,13 organ 13 banjo 11 dr. 13 - Ira Kamin, organ 1,3,9
piano 3,5,7,11,12 - Doug Kilmer, bass 1,3,5,9,11,12 - Tom Donlinger, dr 1-3,5,7 - Eric Kriss, piano 2,4 - Ron Stallings,
tenor sax 5,9 - Hart McNee, baritone sax 5,9 - Nick Gravenites, vocals 7, guitar 7 - Roger Troy, bass 7 - Dave Neditch, dr
9,11,12
1. If You Love These Blues (1.08)
2. Hey, Foreman(2.52)
3. WDIA (3.33)
4. Death Cell Rounder Blues (3.31)
5. City Girl (4.27)
6. Kansas City (3.05) (3.08)
7. Mama Lion (3.37) (3.57)
8. Thrift Shop Rag (1.45) (1.48)
9. Death in My Family (3.56)
10. East Colorado Blues (1.33)
11. Blue Ghost Blues (2.14)
12. The Train Is Gone (2.54)
13. The Altar Song (2.15)
w/m MB
w/m MB
w/m MB
w/m MB
w/m MB
w/m MB
w/m MB
w/m MB
w/m MB
The timing in the CD booklet is a mysterious mess!? Above are the actual timings (not from the label!) from the Guitar
Player album. The timings are without MBs speeches between tracks about the songs (only on the vinyl releases) and are
the same (give or take a second) as the actual CD timings.
1976
168
016
488
1992
054
1994
064
1994
1976
124
2004
537
w/m MB
*****
Now here is something I haven't got to the bottom of yet!!!
MICHAEL BLOOMFIELD & FRIENDS
(These recordings have been released so many times on different LPs and CDs that I have given up trying to pin them
down! Sorry. I know its a mess. Paul Thompson has tried to sort it out and I have used his numbering to the left. Anyway
its fine music!)
1977
Mike Bloomfield, guitar, vocals - Mark Naftalin, piano - Buddy Helm, drums Buell Neidlinger, bass
Pauls:
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
1-17 - LP-2 RED, HOT & BLUE UN.DISTRIB. LYRICS LTD. UDL-2328/2322 (US) Bootleg
216
125
?
1989
1989
198?
1-13 - CD BETWEEN A HARD PLACE AND THE GROUND IN CONCERT MAGNUM MACD 012 (US)
1990
1990
1994
1995?
1995
1-13? - CD BETWEEN THE HARD PLACE AND THE GROUND MAGNUM AMERICA 12
1998. Mar.
1998. Mar.
1998. Mar.
1999. Nov.
2000. Jan.
2000. Jan.
2000. Jan.
2000. Jan.
2000. Feb.
2000. Feb.
1-15,17 - LP-2 RED, HOT & BLUE UNIVERSE 27 (I) Bootleg 180 gr. vinyl
2000. Apr.
2000. Dec.
2001. Aug.
170
280
515
126
w/m MB
w/m MB
1987. Jun.
1992
032
MICHAEL BLOOMFIELD
1977?
Recorded live at McCabes?
Michael Bloomfield, vocals, piano 1-3,9, guitar 4-8,10 and ??
1. Hully Gully (4.01)
2. Wings Of An Angel (3.55)
3. Walkin The Floor (4.23)
4. Dont You Lie To Me (4.09)
5. Junko Partner (4.44)
6. Knockin Myself Out (3.45)
7. Women Lovin Each Other (4.43)
8. Cherry Red (3.45)
9. RX For The Blues (2.20)
10. You Must Have Jesus (5.36)
MB
MB
The covers to some of the CDs state the recordings are from the Chicago club Big Johns, but its not. Apparently the
recordings are from 1977. The overall sound and the choice of songs indicate that these recordings are from the same period
as the rest above.
MB is clearly the main artist, but the band plays very well. It must be one of the formations of the & Friends.
127
1984
027
19??
1990
247
1993
063
045
1994
1995
405
1996
106
1996
19??
1998
1998. July
103
128
1998
542
1999
312
2000. Jan:
2000. Jan.
2000. Jan.
2000?
2000. Apr.
2000. June
2003
129
1977
1-11 LP CHICAGO ALL STAR BLACK BLUES BAND NORTHERN LIGHT FSA 87007 (US)
506
****
MICHAEL BLOOMFIELD
1977
Recorded at Beggs/American Zoetrope and Xanadu Recording Co.
Michael Bloomfield, guitar 1-9 banjo 1, bass 1,4-6,8, tipple 6, ukulele 6, dr 1,8 piano 1,4,5 organ 4,5,9 vocal 1,3,5 - Bob
Jones , dr. 4,9 vocals 9 - Nick Gravenites, vocals 9, guitar 9 - Roger Troy, bass 9 - Mark Naftalin, piano, accordion 9 Anna Rizzo, vocals 9 - Marcia Ann Taylor, vocals 9
1. Peepin An A Moanin Blues (2.38)
w/m MB
2. Mr. Johnson and Mr. Dunn (2.52)
w/m MB
3. Frankie and Johnny (4.06)
Trad. arr. MB
4. At the Cross (4.34)
5. Big C Blues (3.52)
w/m MB
6. Hilo Waltz (4.05)
w/m MB
7. Effinonna Rag (4.29)
w/m MB
8. Mood Indigo (5.18)
9. Analine (5.34)
10. Analine (3.17) single edit. (3.00 on label)
The timings differ some seconds from LP to CD to the real time.
1977
222
1977
271
130
1977
118
1977
013
1977
474
9 - LP-2 TOP OF THE ROCK COLUMBIA MUSICAL TREASURY P2S 5428 (US)
1987
101
488
1993. Dec.
4,8 - CD BLUES, GOSPEL AND RAGTIME GUITAR INSTR. SHANACHIE 99007 (US)
promo pic. disc
117
1993. Dec.
086
1997. Aug.
132
1999?
2007
514
*****
ANDYS BAD The Movie
1977
Director Jed Johnson - prod. Jeff Tornberg & Andy Warhol
Blossom Studios
Carroll Baker - Perry King - Susan Tyrell a.o.
Music composed by Michael Bloomfield Film length: 107 minutes
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
131
12.
13.
14.
15.
16.
17.
18.
19.
The title theme and end-title theme is Andys Bad, but without vocal of any kind. There is some fine playing, but its
more often than not buried under the dialogue. In (6) theres a fine slide guitar.
Track (10) has nothing to do with the music, but its a hilarious conversation, between the fat lady, who wants Marcia &
Glenda to kill the neighbors dog. Its called a comedy, but its a weird, crazy movie.
The price on the videocassette apparently once was $59,95!
1985
238
*****
MICHAEL BLOOMFIELD AND FRIENDS WITH JOHN CIPPOLINA
1977. Apr. 20. Recorded live in San Francisco "Prisoners Benefit"
Michael Bloomfield, guitar, vocals 7-9- John Cipollina, guitar, vocals - Roger Troy, bass, vocals 1-3, 4?,10 - Mark Naftalin,
keyboards - Bob Jones, drums, vocals 4?,5,6
1. I Dont Want No Wife (3.21)
2. Move On Over (6.02)
3. You Send Me (9.07) incl. introduction of the band
4. Feel So Bad (8.45)
5. Mr. Pitiful (6.34)
6. Tell Me Like It Is (7.39)
7. When I Was a Cowboy (6.46)
8. Women Lovin Each Other (5.40)
9. Try It Before You Buy It (5.42)
10. Too Much Monkey Business (5.03)
11. Instrumental (cut short) (3.17)
132
An audience recording of low quality. Bloomfield does not shine, but it is fun to hear him sing When I Was a Cowboy
and a live version of Try It Before You Buy It is of course interesting. Tracks (2 and 4) start with more than one minute
of strumming and talking.
1977
2006?
296
*****
MICHAEL BLOOMFIELD & FRIENDS
1977. July, 21. Live at Starwood, Hollywood, CA
Michael Bloomfield, guitar, vocals - Nick Gravenities, guitar, lead vocals 1 - Mark Naftalin, keyboards
Roger Troy, bass, lead vocals 2 - Bob Jones, drums, vocals
1. Brown Paper Bag (8.20)
2. Heartbreak (0.50-5.37)
I will let my dear friend Peggy comment on this one:
To honor Michael today, on this 30th anniversary of his passing, I'm happy to share a previously uncirculated show!!
Unfortunately, it's only 2 songs but I'm always grateful for these discoveries and what a treat to hear a new song!! "Brown
Paper Bag", the first track, I'm assuming is a Nick penned tune. It has a country sound. The band is really tight and the
audience is very enthusastic and appreciative. Michael's guitar riff is just beautiful, along with a fabulous 3-part harmony
sung by Nick, Roger and Bob! A 9 minute tune that really delivers, in my opinion! The 2nd track is the familiar
"Heartbreak" sung by Roger Troy with more fantastic guitar playing. Michael & Friends opened for John Mayall.
A great thank you to Peggy for keeping Michael Bloomfields name and reputation alive and for unearthing so many golden
nuggets with our hero. Keep looking, my dear, its out there!
1977
532
*****
BIG JOE TURNER
1977?
Recorded live at The Palms Caf, 1406 Polk Street, San Francisco
Big Joe Turner, vocals - Michael Bloomfield, guitar - Mark Naftalin, piano Ben King Perkoff?, sax - Pat Campbell,
bass - Bob Scott, dr
1. Every Day I Have the Blues (9.43)
2. Early One Morning (6.13)
3. Hide and Go Seek (4.44)
4. The Night Time Is the Right Time (7.26)
5. Shoo Shoo Boogie Boo (7.27)
6. Ive Got A Pocket Full of Pencils/I Want My Baby to Write Me (13.13)
7. Stormy Monday Blues (6.41)
8. Roll Em Pete (3.31)
9. Shake, Rattle And Roll (5.26)
10. When the Sun Goes Down (4.20)
11. How Long Blues (3.26)
12. Flip, Flop and Fly (6.10)
13. Honey Hush (Hi Ho Silver) (5.48)
14. TV Mama (5.11)
15. Chicken and the Hawk (4.48)
16. Write Me a Letter (5.48)
17. Chains of Love (7.25)
18. Corinna, Corrine (5.42)
19. Shake, Rattle and Roll (7.20)
20. I Hear You Knockin (8.00)
133
1983?
128
1983?
162
19??
134
19??
19??
1988
19??
19??
1993
19??
17-21? - CD LIVE P-VINE PCD-908 (US) (Probably the same as the Pilz or Interactions CD)
1993
14,22 - CD BLUES SUMMIT PILZ 449300-2 (Percy Mayfield) 2 songs by Joe Turner
1997
1994
19??
19??
1998
169
2000
375
209
160
161
135
136
1993. Dec.
117
086
*****
Poster: Blue Gravy with Nick Gravenites and Count Talent live at The Village, SF January 19, 1978
*****
MICHAEL BLOOMFIELD
137
1978
Michael Bloomfield, vocals 2-7, guitar 1-8, piano 1-3,7,8, accordion 7, tipple 7, Moog 8, organ 8, six string banjo 2,6, bass
8 - Bob Jones, dr 1-8, tambourine 3, background vocals 3 - David Shorey, bass 2,3,6,7, background vocals 2,3 - Douglas
Kilmer, bass 4,5 - Ira Kamin, piano 4,5 - Kraig Kilby, trombone 6
1. Guitar King (4.10)
Trad. arr. MB
2. Knockin Myself Out (4.05)
3. My Children, My Children (4.35)
4. Women Loving Each Other (6.12)
Trad. arr. MB
5. Sloppy Drunk (5.58)
Trad. arr. MB
6. You Took My Money (3.58)
Trad. arr. MB
7. See That My Grave Is Kept Clean (4.50)
8. The Gospel Truth (4.00)
Tracks (4,5) were recorded live in a club and that explains the different musicians.
1978
018
198?
1987
324
1996. Nov.
1997
1997. Aug.
2007
132
514
*****
FRANK WAKEFIELD
1978. May 4-9. Recorded at 1750 Arch, Berkeley, California Producers Michael Bloomfield & Mike Melford
Frank Wakefield, mandolin, vocal 2,3,8-10 Jon Glik, fiddle Sam Blagden, bass, vocal Rick Willy Lindner, guitar,
vocal 1,4-711,12 Tom Stern, banjo
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
1978
1-12 LP FRANK WAKEFIELD AND THE GOOD OL BOYS FLYING FISH 1304 (US)
306
*****
MICHAEL BLOOMFIELD
1978. July 2. Recorded at The Other End Caf, San Francisco, California
138
A very intimate concert with Bloomfield sounding like he is in a good mood. John Cramers vocals are close to terrible.
The timings include talking to the audience and between the two musicians. The instrumental (5) probably is the closing of
(4). Nice slide work. The date could have been Feb. 7 instead! Due to the battle between the Amercian way and the
European way of writing the date!
1978
268
*****
MICHAEL BLOOMFIELD
1978. Sep. 8. Recorded live at Antones, Austin, Texas
Michael Bloomfield, vocals 1-7,14-16, guitar Mark Naftalin? piano - ? drums - ? bass - ? vocals 8,9,10,11,12
1. Big Chief From New Orleans (3.05)
2. They Took My Money (7.18)
3. Women Lovin Each Other (6.44)
4. Knockin Myself Out (6.57)
5. Snowblind (9.34)
6. Linda Lu (3.58)
7. Shes 19 Years Old (6.42)
8. Movin Down A Back Road (4.26)
9. Its Gonna Be All Right (8.57)
10. Feel So Bad (5.06)
11. Goin Down The Street (4.40)
12. Tell It Like It Is (5.25)
13. Louisiana Blues (4.10) (Mojo Hand)
14. Dont You Lie To Me (4.32)
15. Stranger In My Own Hometown (5.01) fades out
16. Times Tough (6.25) fades out
This is a fine example of MB live. His singing is all right and his playing is great.
Big Chief. has MB playing a stinging guitar intro. On track (2) MB is playing acoustic guitar (nice sliding!) and the
melody is similar to Peach Tree Man from the Count Talent album. More fine slide on (3). It sounds like MB is in a good
spirit. His long intros are fine examples of his abilities as a guitarist. The nine minutes long Snow Blind is almost too
slow, it never really lifts off the ground despite a fine little solo from MB after approx. 6 minutes. From track (6) the
electric guitar is back. To track (7) again we get a beautiful intro on this Muddy Waters favorite. Track (8) is a kind of
funky soul piece with another than MB as vocalist (the same as on track (9-13)). MBs playing on track (9) is superb. Also
tracks (14 and 15) stand out and have MB back on vocals. The last track is reggae with nice guitar work. Unfortunately the
last two tracks are not complete but faded out.
1978. Sep.
351
139
*****
October 1, 1978 - Tribal Posters for the Reunion Concert first - second
PAUL BUTTERFIELD BLUES BAND
1978. Oct. 1. Recorded live at the, University of California at Berkeley
Paul Butterfield, hca, vocals 2-6,8 - Michael Bloomfield, guitar, backing vocals 13 - Elvin Bishop, guitar, vocals 7,9,13 Mark Naftalin, piano, organ - Sam Lay, drums, vocals 10,11 Roger Troy, bass, vocals 13 - Maria Muldaur, vocals
10,11,13 1. Introduction by Chet Helms (2.49)
2. Born In Chicago (6.10)
3. Our Love Is Drifting (10.33)
4. Everything Is Gonna Be Alright (6.08)
5. Shake Your Moneymaker (6.31)
6. Get Out Of My Life Woman (8.22)
7. Paying The Price To Feeling Nice (10.01)
8. Mystery Train (7.03)
9. Little Brown Bird (9.52)
10. Got My Mojo Working part 1 (3.32)
11. "Got My Mojo Working part 2" (jam) (6.37)
12. "Getting ready for the encore" (1.22)
13. Dont You Lie To Me (9.31)
14. "Wavy Gravy Outtro" (1.13)
This is the reunion concert with the members from the debut recording. In the introduction the promoter of the Family Dogs
shows, Chet Helms, talks at length about his demised partner, John Carpenter, who took in the BBB and let them sleep in
his house, which was full of puppies and dog shit and stuff. Someone from the band expresses that the sight of all these
girls with no brassieres on, it blew my mind, man!
A great show, but obviously the band doesnt gel as before. My guess is that they havent rehearsed much before entering
the stage, but nice solos all over on this historic recording. Butterfield is carrying the biggest load, and seems to be on top
form. MB is playing with a wailing tone throughout the show.
At some point the audience is yelling for "East-West", but MB cuts through, blasting away into "Shake Your
Moneymaker". The first half of track (7) is about taking drugs ("Sometimes I might take me a little sniff of cocaine, but
that's just to ease the pain"), and the last half of the track is a long rap about drugs and warnings against them. MB plays a
great solo on this track. After "Mystery Train" "Maria Muldaur, a friend of our band" is called upon stage to sing, but she's
buried in the background of (9-11). The encore (13) has a lengthy intro by Naftalin on piano, but suddenly it's ripped to
pieces by a fiery guitar.
It sounds like it's Elvin Bishop singing "Little Brown Bird", the first guitar solo is MB and the second slide solo must be
Elvin showing off (in a good way, that is!). Sam Lay is featured as vocalist on track (10,11), which brings memories of the
Fathers and Sons recording, where Mojo also was cut in two parts.
The timings include applause, strumming and so on. Mark Naftalin is trying to fill out the longest pauses with a little piano
doodling.
In 2009 a video of the first half of the concert appeared! Pro-shot with at least two cameras and in a fine quality. You
could/can download it from www.dimeadozen.org. This is the text following the DVD download.
The Paul Butterfield Blues Band
original band reunion (except Roger Troy instead of Jerome Arnold on bass)
October 1, 1978
The Greek Theatre
Berkeley, California, USA
"A Tribal Stomp"
Paul Butterfield, Mike Bloomfield, Elvin Bishop, Mark Naftalin, Roger Troy and Sam Lay.
This video is incomplete - The audience audio cassette master source that includes the complete Butterfield set and all of
140
the other bands who appeared at this show was posted separately at:
http://www.dimeadozen.org/torrents-details.php?id=273288&viewcomm=3594863#comm3594863
NTSC DVD video - decent quality though there are video "gremlins" in a few spots. The video is unfortunately shot rather
poorly with the camera rarely on Mike Bloomfield as he rips off those amazing guitar leads. The audio sounds like a "rough
soundboard" but still OK enough to go along well with the video content.
This is only about half of their set. Perhaps more will surface eventually since presumably the rest does exist somewhere
out there in the "non-trading" realm.
00:00:00
00:01:01
00:07:35
00:16:04
00:23:01
00:29:38
00:38:26
00:47:13
00:54:02
Low gen. Beta tape > Sony SL-HF1000 (playback) > Sony DVMC-DA2 Media Converter > Apple Macintosh Final Cut Pro
(minor "nip and tuck" edits, filter to mask bottom of screen "head switch jitter" and chaptering) > Compressor > DVD
Studio Pro (menu and authoring) > VIDEO_TS file set.
Audio post capture processing in Pro Tools (normalization plus a few clicks seamlessly removed). Audio placed back into
Final Cut Pro before Compressor down-sampling.
Video - NTSC 720x480 VBR 7.7 Mbps peak, 6.2 Mbps average data rate, 2-pass.
Audio - choice of: Dolby Digital 2/0 (L,R), 48 kHz sample rate, 448 kbps data rate
or:
Linear PCM (2 channel 48kHz 16 bit).
Note: the documentary credits had a released audio track (Youngbloods "Get Together"), so the audio was clipped before
that. If you can, just play your copy of that while the credits roll (or just sing the lyrics). "Love is but a song we sing,
fear's the way we die..."
I also have video of the complete Country Joe and The Fish set from this show and will post it after this one seeds.
Enjoy and SHARE!
1978
342
1978
521
*****
MICHAEL BLOOMFIELD
1978?
Recorded at Xanadu Recording Co., San Francisco, California Producer Norman Dayron
5 recorded in SF in 1974 prod. MB
Michael Bloomfield, vocals 3,8, back up vocals 9, guitar 1-10 organ 2,7 six string banjo 3, piano 3,4,7,8 bass 3,8, Fender
Rhodes 7, percussion 7,9 - Bob Jones, vocals 1,10 dr 1-10 guitar percussion 1,9 back up vocals - Mark Naftalin, piano
1,3,5,6,9,10 accordion 2 Fender Rhodes Arp synthesizer 4 - Soma, bass 1,4,6 - Clay Cotton, clavinet 1 - Roger Troy,
vocals 2,6, backup vocals 6 - Thaddeus Reese, bass 2 - Ann Rizzo, vocals 5,6 back up vocals - Ted Ashford, organ 5,
Hohner pianette 10 - Jack Blades, bass 5,10 - Jerry Martini, saxophone 5,10 - Dennis Marcellino, saxophone 5,10 - Max
Haskett, trumpet 5,10 - Andrew Goldstein, trombone 5,10 - Nick Gravenites, vocals 7 - David Shorey, bass 7,9 vocals 9
back up vocals - Marcia Ann Taylor, vocals 9 back up vocals - The Scabs 1-3,6,9: Ray Loeckle, saxophone - Cal Lewiston,
trumpet - Chuck Bennett, trombone (and clarinet 3)
1. Love Walk (3.59)
2. You Was Wrong (2.43)
w/m MB
3. Peach Tree Man (3.46)
w/m MB
4. When I Need You (5.12)
5. Sammy Knows How to Party (3.04) version 1 w/m MB recorded in 1974
6. I Need Your Loving (3.19)
7. Bad Man (4.47)
w/m MB
8. Saturday Night (1.51)
w/m MB
141
w/m MB
w/m MB
Sammy Knows How To Party is the second of three different recordings of the song. The first is from 1974 and the last is
on Living in the Fast Lane. See 1980.
Its evident why When I Need You was picked for the Blues, Gospel and Ragtime sampler CD in 1993. MB is playing
the slide at his best.
1978
1978
1-10 - LP COUNT TALENT AND THE ORIGINALS T.K. TKR 82516 (NL)
1978
1-10 - LP COUNT TALENT AND THE ORIGINALS T.K. PTK 92022 (CAN)
269
1978
1-10 - LP COUNT TALENT AND THE ORIGINALS EPIC ELPS 3914 (AUS)
473
1993
3.198
1993. Dec.
117
086
1993. Dec.
017
*****
MICHAEL BLOOMFIELD & FRIENDS
1978. Oct. 20. Live at My Fathers Place, Roslyn, NY
Michael Bloomfield, guitar, vocals 6-7 Bob Jones, drums, vocals 1-5 Mark Naftalin, piano Dave Shorey, bass
1. Feel So Bad ()
2. I'm Ready ()
3. Sweet Hurricane ()
(W/M Dave Shorey)
4. Stand By Me () [skip at 4:00]
5. In the Same Old Boat ()
6. Guitar King ()
7. (Time's Tough) Higher and Higher () [ends short]
8. Love Walk ()
9. Maria Elena ()
*****
The Bottom Line, NY
OCT 22 - 23, 1978
MICHAEL BLOOMFIELD
JOHNNYS DANCE BAND
*****
Caf Campus in Montral, Qubec on January 27, 1979.
*****
MICHAEL BLOOMFIELD
1979. Feb. 20. Live at The Earth Tavern, Portland, Oregon
Michael Bloomfield, guitar, vocals 1-5, backing vocals 9 Dave Shorey, bass Bob Jones, drums, vocals 6?, 7-9 Austin
Delone, piano
1. Big Chief from New Orleans (8.12) (fades in)
2. Blue Ghost Blues (My House Is Haunted) (11.36)
142
530
****
MICHAEL BLOOMFIELD
1979
Producer Norman Dayron, - Executive Producer, Nigel Molden - Liner Notes - John Tobler
Recorded at The Old Waldorf, San Francisco
Michael Bloomfield, vocals 1-6 guitar 1-7 - Barry Goldberg, piano 1, organ 2,5,7 - Ira Kamin, organ 1, piano 3,4 - Bob
Jones, dr 1-7 - Roger Troy, bass 1,2,5-7 vocals 7 - The Originals, baritone & tenor saxophone - Mark Naftalin, piano 2,5-7 Doug Kilmer, bass 3,4 - Mark Adams, hca 5 - Voices: Anna Rizzo, Bill McEuen, Mary Stripling, David Shorey, Betsy
Rice, Sophie Kamin
1. Lights Out (1.44)
2. Between the Hard Place and the Ground (3.37)
3. Big Chief from New Orleans (6.15)
4. Kid Man Blues (4.50)
5. Orphans Blues (5.06)
6. Juke Joint (7.00)
7. Your Friends (6.45)
This session was recorded in 1979 at the Old Waldorf in San Francisco according to the booklet in The Best Of MB, but
apparently track (5) was from a live broadcast at KSAN-FM from November 10, 1974 (see that date for further info on the
players).
1979
1-7 - LP BETWEEN THE HARD PLACE AND THE GROUND TAKOMA TAK 7070 (US)
1978?
1987
1997
1997. Aug.
132
1981
102
198?
1-7 - LP BETWEEN THE HARD PLACE AND THE GROUND TAKOMA ST 72770 (US)
1996. Nov.
019
324
143
1997
1997. July
268
*****
BLOOMFIELD/HARRIS
1979. July 9-13. Recorded in Dayrons house in Mill Valley, California, a C.T. Production by Norman Dayron
Michael Bloomfield, guitars - D. Woodfull Woody Harris, guitars
1. Ill Overcome (2.24)
Trad. arr. MB/Harris
2. I Must See Jesus (3.51)
Trad. arr. MB/Harris
3. Great Dreams from Heaven (2.51)
Trad. arr. Harris
4. Gonna Need Somebody on My Bond (4.02) Trad. arr. MB/Harris
5. I Am a Pilgrim (2.08)
Trad. arr. MB/Harris
6. Farther Along (5.15)
Trad. arr. MB/Harris
7. Have Thine Own Way (2.20)
Trad. arr. MB/Harris
8. Just a Closer Walk With Thee (2.22)
Trad. arr. MB/Harris
9. Peace in the Valley (2.42)
Trad. arr. MB
144
Woody Harris is a classical guitarist with a few albums for Arhoolie and Kicking Mule. After the recording of this album
and the short European tour with MB in the fall of 1980, he went back to classical music.
1979
1979
014
1990
421
1990
112.072
1992
054
1993. Dec.
4,6,8 - CD BLUES, GOSPEL AND RAGTIME GUITAR INSTR. SHANACHIE 99007 (US) promo
117
1993. Dec.
1994
064
2004
537
*****
The Bottom Line, NY
APRIL 7 - 8, 1980
MICHAEL BLOOMFIELD-WOODY HARRIS
*****
MICHAEL BLOOMFIELD
19??
Producer Norman Dayron Blossoms Studios Zoetrope Studios
Michael Bloomfield, vocals 5,6,8, guitar 1-8, organ 1, piano 6,7, bass 7, percussion, 3, tambourine 1 - Frank Biner, vocal 1
- Mark Naftalin, piano 1, ARP synthesizer 6, electric piano 5,8 - Roger Troy, bass 1,5,8 - George Marsh, dr 1,5,8 - Duke
Tito & The Marin County Playboys, background vocals 5,8 - Sons of Kings, vocals 2 - Clay Cotton, keyboards 2 - Carl
Severeid, bass 2 - Dwight Dailey, dr 2 - Toots Suite, horns 2 - Bob Jones, vocals 4, bass 4, dr 4,7 - Ann(a) Rizzo, vocals 4 Mr. Robot, perc. 4 - Mark Adams, hca 5
1. Maudie (3.06)
2. Roots (3.30)
3. Watkins Rag(1.43)
4. Andys Bad (3.50)
5. Used to It (2.43)
6. Big C Blues (3.31)
w/m MB
7. The Dizz Rag (3.34)
8. Sammy Knows How to Party (2.15) version 2 w/m MB
The extra tracks on the album Shine On Love, Let Them Talk and When I Get Home were originally released on
the Try If Before You Buy It album in 1975 (see there). The credits differ somewhat from the first time around!
On the CD-label of ERA 5006-2 Maudie is listed as the first track, but has been substituted with Sammy Knows How
To Party thats not listed on the CD but is on the cover. The recording of (8) is different than the Count Talent & The
Originals version that has Ann Rizzo on vocals.
An album with great tracks from a variety of sessions from great pop to blues and rag to sublime gospel (the three tracks
from 1975 not listed here). Andys Bad is from the 1977 movie of the same name and is a very catchy tune with the
drummer Bob Jones whispering the title (in the movie its only instrumental). Tracks (1) and (8) are the lesser lights, but
still good. Tracks (3,6,and 7) have MB on a lot of instruments and are great showcases for his versatility in the blues genre.
Hearing them one thinks he could play that kind of music around the clock. A good album. Might have been released in the
145
US before his death, but it hit Europe immediately after, as the first posthumous release. In a 2001 interview Norman
Dayron says, it was initially called Producers Choice because it consisted of tracks not fitting in anywhere.
1980
020
1981
090
1982
198?
071
1998
2006
531
*****
MICHAEL BLOOMFIELD w/Woody Harris & Margaret Edmondson
1980. Sep.
Recorded live at Mascheroni, Milano, Italy.
Michael Bloomfield, vocals 1-10,15,16, piano 1-6,10-12,16, guitar 7-10,13-15, Fabio Treves, hca 1-4,16, vocals 16
Woody Harris, guitar 11,13-16, vocals 16 Margaret Edmondson, cello 11-14,16, vocals 15,16 5 or 6 persons from the
audience vocals, 16
1. Shake, Rattle And Roll (3.55)
2. Mean Mistreater (4.41)
3. Sloppy Drunk (4.28)
4. Where You There When They Crucified My Lord (5.40)
5. Gods Song (That's Why I Love Mankind) (4.33)
6. Kathleen (Catholicism Made Easier) (4.59)
7. Look Over Yonders Wall (4.01)
8. Fool For A Cigarette/Feelin Good (4.16)
9. Come On In My Kitchen (4.53)
10. Motorized Blues (Country Mechanic) (4.56)
11. Father Along (3.24)
12. At The Cross (4.45)
13. Instrumental (4.24)
14. Ill Overcome (3.48)
15. Gonna Need Someone On Your Bond (4.30)
16. John, John On The Battle Ground (12.04)
Bloomfield is certainly in a good mood this night. A much laid back and a loose performance. He shouts out keys to Fabio
Treves, and gives him advice going a long. Harris leaves stages after only one short track and then is called upon to come
back. He does not seem pleased. There is no Blues Band in this show, and Bloomfield is the centre of it all. The reason for
the very long encore track (16) is that when MB needs a choir for the encore, he goes down to the audience and picks a
handful, and drags them to the stage (with the sound man running after him with the microphone!), where he rehearses
them at the piano and then after almost 6 minutes - one, two three.here we go! Hilarious!! Christine Svane is among the
choir.
There is a lot of strumming and so on before most tracks. A fine show with several new songs, not heard with MB before.
1980
337
*****
MICHAEL BLOOMFIELD w/Woody Harris
1980. Sep. 8. Recorded at Ippodrome delle Mulina Parco delle Cascine Firenze - Italy
146
Michael Bloomfield, vocals 7-14,19-22 guitar 11-14,17-22, piano 7-10,15,16 - Woody Harris, guitar 1-6,15,17-21 Margaret Edmondson, cello 4-6,15-17 vocals 19,21
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
22.
The timings include talking, presentation, strumming and so on. A fine recording from the Italian tour. Apparently all
shows were recorded, so many more may surface one day. The Harris/Edmondson tracks are OK, but very far from what
the public might have expected with Michael Bloomfield as the big name. Margaret Edmondson as back up singer on (18)
is something special. MB seems to be enjoying himself and he speaks with a Southern drawl here and there, and even tries a
few Italian phrases. Anyway, its a good show.
1980
307
*****
MICHAEL BLOOMFIELD w/Woody Harris & Margaret Edmondson
1980. Sep. 12. Recorded live in Napoli
Michael Bloomfield, vocals, 8-17,22,23 piano 8-12,20,23 guitar 13-19,21 - Woody Harris, guitar 2-7,18-22 - Margaret
Edmondson, cello 6,7,18-22 vocals 22
1. "Introduction" (0.54)
2. "Rag Rag Rag" (2.34)
3. "Instrumental" (3.42)
4. "One Step Away" (2.50)
5. Auburn Ravine (2.38)
6. Azuriana (1.18)
7. "Reflections In Water" (1.00)
8. "Dark Road Blues" (3.04) incl. introduction and instructions!
9. "Prison Bound" (4.25)
10. "Itll Be Me" (3.17)
11. "Bartender's Blues" (4.19)
12. "Chillen Chillen Chillen (3.43)
13. "Tryin' To Get To You" (1.25)
14. You Better Stop Drinkin That Wine, Sonny Boy (3.45)
15. "Frankie & Johnnie" (4.13)
16. "Fool For A Cigarette/Feelin' Good " (4.40)
17. Crazy Bout An Automobile (3.35)
18. "Finger Fat" (instrumental) (1.40)
19. "Louise" (instrumental) (2.00)
20. Great Dreams From Heaven (instrumental) (2.10)
147
This is apparently a soundboard recording but there is a lot of noise (hiss) and the sound is swaying, maybe from being
copied too many times (though the one who put it up on the net, calls it uncirculated master soundboard!!??). There are
trouble with the monitors and the amps and Harris is complaining between songs and strumming along to get the monitors
right. In the meantime the audience gets impatience and Harris tries to calm them down. Its obvious that Harris cuts his
instrumentals down due to the monitor problems. Not even Margaret Edmondson can calm the audience. Anyway it must
have been an anticlimax for the attendants to buy ticket to go to a Mike Bloomfield electric Super Session Blues-RockShow and then get an unknown acoustic guitar player and a girl playing cello!
After Harris and Edmondson have shouted and begged Marco the soundman to get it right. Bloomfield comes on stage
and yells: MARCO! I WANT THIS PIANO FUCKING LOUD!!! TURN IT UP, MAN!. And apparently that helped! MB
sure knows how to handle the audience and even the sound of the recording improves a lot as he plays and sings!
During his acoustic guitar set, it sounds like some people are shouting GO HOME!
When Harris and Edmondson are back one can hear Edmondson asking for Bond after track 18. Apparently she wants
them to play Gonna need somebody on my bond to end the show and get off stage! MB(?) is saying: Bond!? NOW?! and
then the play Louise. As she couldnt get off that way, she tries by asking for time to change a broken string!
After (21) MB or Harris is loosing his pick and it takes forever to find it or a new one, and people starts calling out what
they want to hear, and Bloomfield shouts: Hey, I dont tell you all how to suck cock, dont tell me what to play! after 2
minute of nothing they finally start Gonna Need Somebody.. Marco, turn this fucker up real loud! And MB rushes
into the encore solo.
I can understand why the audience may be disappointed. They knew MB as a great blues (electric-) guitar player and what
they get is a piano playing MB or a mostly acoustic set. Even compared to the Bloomfield/Harris LP the live performance is
under par.
1980
479
*****
MICHAEL BLOOMFIELD w/Woody Harris & Margaret Edmondson
1980. Sep. 13. Recorded live at Mestre Teatro, San Mauro, Italy
Michael Bloomfield, vocals, guitar 12-16,18,21,23, piano 8-11,19,22 - Woody Harris, guitar 2-6,16-18,20-23 - Margaret
Edmondson, cello 5,6,17-20,22 vocals 21,23
1. "Introduction" (0.56)
2. "Rag Rag Rag" (1.41)
3. "Instrumental" (3.11)
4. "One Step Away" (5.10)
5. "Reflections In Water" (3.06)
6. "Radiator Water" (1.23)
7. "Introduction" (0.18)
8. "Dark Road Blues" (3.10)
9. "Arkansas Moonshine Baby" (5.06)
10. "Chains Of Love" (5.05)
11. "Bartender's Blues" (4.07)
12. "Tryin' To Get To You" (2.05)
13. "Frankie & Johnnie" (4.31)
14. "Fool For A Cigarette/Feelin' Good" (4.32)
15. "Look Over Yonders Wall" (4.22)
16. "Louise" (instrumental) (2.19)
17. "Over The Rainbow" (instrumental) (2.39)
18. "Finger Fat" (instrumental) (1.40)
19. "At The Cross" (instrumental) (3.32)
20. "We Shall Overcome" (instrumental) (3.22)
148
376
*****
MICHAEL BLOOMFIELD w/Woody Harris & Margaret Edmondson
1980. Sep. 14. Live at Castel DAzzano, Verona, Italy
Michael Bloomfield, vocals, guitar 12-23, piano 8-11 - Woody Harris, guitar 1-6,17-22 - Margaret Edmondson, cello
5,6,17-19,21 vocals 20,21
1. "Rag Rag Rag" (instrumental) (1.40)
2. "Instrumental" (2.39)
3. "One Step Away" (instrumental) (2.45)
4. "Instrumental" (2.32)
5. "Reflections In Water" (instrumental) (3.03)
6. "Radiator Water (instrumental) (1.19)
7. "Introduction by MB" (0.15)
8. "Dark Road Blues" (2.32)
9. "Alabama Women" (4.13)
10. "Chillen Chillen Chillen" (4.33)
11. "Bartender's Blues" (4.54)
12. "Tryin' To Get To You" (2.43)
13. "Hey Good Looking" (1.57)
14. "Frankie & Johnnie" (5.19)
15. "Fool For A Cigarette/Feelin' Good" (3.47)
16. "Crazy bout An Automobile" (3.50)
17. "Louise" (instrumental) (2.28) w/intro
18. "Finger Fat"(1.18)
19. "Over The Rainbow" (instrumental) (3.04)
20. "Knocking Myself Out" (4.39)
21. "We Shall Overcome" (instrumental) (3.26)
22. "Gonna Need Somebody On Your Bond" (5.14)
23. Motorized Blues (Country Mechanic (3.22)
24. MB names his tunes (1.00)
The sound quality of this recording is bad, really bad, it is almost impossible to understand what is being said or sung.
Woody Harris introduces (3) as something I wrote this evening. but he also played it the night before It is a boring
instrumental that never gets off the ground. Radiator Water has an intro where Woody Harris names the Japanese rice
wine - sake - a Japanese beer(!!) and something about having too much of it.
1980
377
*****
MICHAEL BLOOMFIELD w/Woody Harris (and Treves Blues Band)
1980. Sep. 14.-15. Recorded live at Castel DAzzano, Verona, September 14, 1980
Michael Bloomfield, vocals, guitar - Woody Harris, guitar - Margaret Edmondson, vocals 1
1. Knocking Myself Out (3.24)
Trad. arr. MB/Harris
2. Gonna Need Somebody On Your Bond (4.39) Trad. arr. MB/Harris
Recorded live in Palasport, Torino September, 15. 1980
Michael Bloomfield, vocals, piano
3. Dark Road Blues (4.48)
149
1-8 - LP LIVE IN ITALY MAMA BARLEY RECORDS M.B. 0001 (I) Bootleg
055
*****
The Italian leg of the tour also went to Pisa. Later on they went to Finland and Sweden.
*****
MICHALE BLOOMFIELD w/Woody Harris & Margaret Edmondson
1980. Sep. 23. Mariahissen, Stockholm
1980. Sep. 24. Uppsala Musikforum
According to a review in the Swedish Blues Magazine Jefferson by Hasse Ivarsson, opened Bloomfield his set with an a
capella version of Linin Track After playing a couple of songs on the acoustic guitar, came Frankie & Johnnie. At the
piano he played Nobody Loves You When Youre Down And Out, which the reviewer look at as the highlight of the
evening. For the encore Bloomfield went into the audience to get a boy and a girl on stage to sing with him. He found a
girl, but one of the roadies had to be the boy.
You can find Jefferson on the www here: http://www.jeffersonbluesmag.com/
Hasse Ivarssons review:
Mike Bloomfields concert on Mariahissen in Stockholm on Sept. 23 and on Uppsala Musikforum on Sept. 24 may not
belong to the best as far as technically bravado goes. I thought that there was compensated more than enough for that by
sheer joy of playing and feelings.
Opening the proceedings was Woody Harris, one of Bloomfields two co-players on this tour. Bloomfield stood for the
powerful and Harris for the fine style. After a couple of numbers on his own, Harris did some together with Margaret
Edmondson on cello.
Then it was time for Bloomfield to take the stand. First number was Linin Track, only vocals. Then came some songs on
guitar, among them Frankie And Johnnie. The he changed to piano, where Nobody Loves You When Youre Down And
Out must be the highlight. After an interim all three came on stage.
The mixture of cello, piano and acoustic guitar are not that unfamiliar, but it is probably rarer that there is played blues on
the cello, especially when played with a bow. I thought it was a joyous mixture and here and there it worked really fine.
Some in the audience was probably disappointed over Bloomfield didnt play electric, but most people seemed to at least
have a good time.
Mike Bloomfield thinks that the most important thing of all is that you have fun when you play. I was forced to go before
the end to catch the last train from Uppsala to Stockholm, so I dont know how the concert ended at Musikforum. But for
the last number at Mariahissen, Bloomfield went out among the audience to get a girl and a boy to join him on stage to sing
150
a long. It wasnt easy at Hissen. Its obvious that the girls dare more, because one stood up, but no boy. Instead one of the
two roadies went up on the stage at last.
Hasse Ivarsson.
(translation: Ren Aagaard)
*****
According to an interview with Woody Harris in the book If You Love These Blues An Oral History by Keenom &
Wolkin, Bloomfield /Harris played the Bitter End in NY for several nights. The Bottom Line, NY (filmed by French TV).
In Boston several times and Washington DC, and The Main Point club in Pennsylvania two or three times. And last in
McCabes in Santa Monica, CA. These performances are supposedly to have happened late Oct. early Nov.
*****
MICHAEL BLOOMFIELD
1980. Oct. 27. - Nov. 29. Recorded At Hyde Street Studios, San Francisco, California Producer Norman Dayron
Michael Bloomfield, guitars 1-10 vocals 1,2,4,6,7,10 piano 1,6-10 organ 8 - Henry Oden, bass 1-10 - Tom Rizzo, dr 1-10 Hart McNee, baritone sax 1,3-5,8 vocal 8 - King Perkoff, tenor sax 1,3-5,8 - Derrick Walker, tenor sax 1,3-5,8 hca 7 Jonathan Cramer, piano 2,4,5,10
1. Cruisin For A Bruisin (3.49)
2. Linda Lu (2.08)
3. Papa-Mama-Rompah-Stompah (3.28)
4. Junkers Blues (2.32)
5. Midnight (3.46)
6. Itll Be Me (3.00)
7. Motorized Blues (4.15)
8. Mathilda (2.28)
9. Winter Moon (4.34)
10. Snowblind (5.00)
In a 2001 interview Norman Dayron tells it was recorded at Wally Heiders Polk Street studio.
1981. Feb. 27. 1-10 - LP CRUISIN FOR A BRUISIN TAKOMA TAK 7091 (US) Testpressing
Send out on Jan. 5, 1981.
489
1981
1-10 - LP CRUISIN FOR A BRUISIN TAKOMA TAK 7091 (US) Promo stamp
This LP was reputedly mastered at the wrong speed
520
1981
120
1981
015
1987
324
1997. Aug.
132
1996. Nov.
1997
BOB DYLAN
1980. Nov. 15. Recorded live at Fox Warfield Theatre, San Francisco, California
151
Bob Dylan, vocals, guitar, hca - Michael Bloomfield, guitar 7,22 - Fred Tackett, guitar, mandolin - Willie Smith, keyboards
- Tim Drummond, bass - Jim Keltner, dr - backing vocals: Clydie King, Carolyn Dennis and Regina McCreary
1. If I Got My Ticket Lord
2. Its Gonna Rain
3. Come On In This House
4. Saved By The Grace Of Your Love
5. Gotta Serve Somebody
6. I Believe In You
7. Introduction by Bob Dylan/ Like A Rolling Stone (7.30)
8. Till I Get It Right
9. Man Gave Names To All The Animals
10. Simple Twist Of Fate
11. Aint Gonna Go To Hell For Anybody
12. Girl Of The North Country
13. Slow Train Coming
14. Walkin Around Heaven All Day
15. Abraham, Martin And John
16. Lets Keep it Between Us
17. Mary Of The Wild Moor
18. Covenant Woman
19. Solid Rock
20. Just Like A Woman
21. Senr
22. The Grooms Still Waiting At The Altar (6.35)
23. When You Gonna Wake Up?
24. In The Garden
25. Blowin In The Wind
26. This Is A City Of Lies
27. Love Minus Zero/No Limit
The complete show: Tracks (1-4) are the backing singers and Willie Smith on piano. Tracks (5-7) are Bob Dylan with the
band. Track (8) is sung by Regina McCreary with the band. Tracks (9-11) are Dylan with the band. Track (12) is Dylan
acoustic with Willie Smith on piano. Track (13) is Dylan with the band. Track (14) is sung by Carolyn Dennis with the
band. Track (15) is sung by Dylan and Clydie King. Tracks (16-26) are Dylan with the band and the last track (27) is Dylan
solo acoustic.
Dylan was on A Musical Retrospective Tour 1980 and he had a lengthy stay - 12 shows - at the Warfield Theatre,
November 9 to November 22. The complete Dylan show lasted 27 songs. Bloomfield came on stage on these two numbers
on the Nov. 15 show.
The story goes that Dylan came around to MBs house, and he had to climb through the window to get in. MB had almost
isolated himself in the house. Dylan invited MB to come and play, but MB wasnt keen on the project. Nevertheless, he
showed up on the 15th.
It seems clear that Dylan loves MB. Before track (7) Dylan, a man of few words when performing, spoke for two minutes
about his meeting and playing with MB, a very touching introduction. The little hairs on your arms stand on end. Dylan
goes: Alright, I was playing in a club in Chicago, I guess it was about 1959 or 60. I was sittin in a restaurant, I think it
was, possibly across the street, or maybe it was part of the club, Im not sure, when a guy came down and said that he
played guitar. So he had his guitar with him, and he began to play. I said, well, what can you play, and he played all kind of
things, I dont know have you ever heard of a man...Big Bill Broonzy? Ring a bell? Or Sonny Boy Williamson, that type of
thing. Anyway, he just played circles around anything I can play and I always remembered that. Anyway we were back in
New York, I think it was 1963 or 64, and I needed a guitar player on a session there I was doing. And I called up I didnt
remember his name! He came in and recorded an album. At that time he was working in Paul Butterfields Blues Band.
Anyway, he played with me on the record and I think we played some other, but I havent seen him too much since then.
He played on Like A Rolling Stone. Hes here tonight, give him a hand: Michael Bloomfield! Then MB shuffled on
stage in his slippers! and played very much like what he did on the original release of Like A Rolling Stone. When
finished, Dylan said Michael Bloomfield, go see him where he plays. MBs contribution to the track is very much the
same as on the original release.
Next time around Dylan introduces: Heres a new song. If Michaels still out there and you wanna play on this.... Wherere
you sitting Michael? Anyway, this ones called The Grooms Still Waiting at the Altar. Cant seem to find Michael, so
152
we gonna start it.... MB does show up, and plays like in his heyday, licks and solos all over this track. This is the highlight
of the entire show. After the song Dylan goes: Michael, where did you learn to play that way? Whats you been doing?
MB did not show up on the following dates, even though he was invited. MB and Mark Naftalin had a show to play in
Bellingham, WA on the 16th.
199?
199?
1980
239
459
*****
Mike Bloomfield & Mark Naftalin, Bellingham, Washington, November 16, 1980
*****
MICHAEL BLOOMFIELD
1980. Dec.
In the December 1980 issue of the magazine High Times is MBs essay on Big Joe Williams, printed for the first time. It
has original illustrations by Robert Crump. It was released in pamphlet form later by Re/Search Publications
*****
Michael Bloomfield, Woody Harris, Margaret Edmondson
Thursday, December 11, 1980 - The Childe Harolde, Washington, DC
*****
MICHAEL BLOOMFIELD WOODY HARRIS and MARGARET EDMONDSON
1980. Dec. 12 Live Chester Town Meeting House, Chester, CT
Michael Bloomfield, vocals 1-11, piano 1-7,16 guitar 8-14,17-20 - Woody Harris, guitar 12,14-20 slide 13 Maggie
Edmondson, cello 14 17,19,20
1. Sloppy Drunk ()
2. Women Lovin' Each Other ()
3. You Took My Money ()
4. Rx For The Blues/Nobody Knows You When Youre Down And Out ()
5. I Think He's Hiding ()
6. He Gives Us All Of His Love ()
7. Gods Song (That's Why I Love Mankind) ()
8. Frankie & Johnnie ()
9. Come Back Baby, Please Dont Go ()
10. Great Changes ()
11. Snowblind ()
12. Auburn Ravine () (Instrumental)
13. How Green Was My Valley () (Instrumental)
14. Reflections In The Water () (Instrumental)
15. Nightsoil () (Instrumental)
16. At The Cross () (Instrumental)
17. Hi Lo Waltz () (Instrumental)
18. Over The Rainbow () (Instrumental)
19. We Shall Overcome () (Instrumental)
20. Finger Fat ()
Excellent sounding audience recording. Several never before heard MB tracks. The microphone must have been standing on
the scene. The piano is as clear as it gets, the vocals a bit in the background, but the best possible recording you can
imagine! Lots of coughing, noisy chairs and clicking from a camera.
153
Track (3) changes midway from a pop-song to a bluesy lament that could date from the Count Talent period. Track (4) is
dedicated to Patty Ramsey whoever she may be - and evolves into the old blues standard. Track (5-7) is announced as a
medley of three songs called the Monachy of singing(?). All three gospel-like songs and all three written by Randy
Newman. After the first part there suddenly comes some hiss on the recording. Track (9) dates back from the BBB days. It
sounds like MB unlike the other concerts - is playing on all the Harris-Edmondson tracks except (track 15).
1980
478
*****
THE USUAL SUSPECTS
1981
Producer Tom Stern - recorded at Parvin Studio
Nick Gravenites, vocals 1, guitar 1 - Pete Sears, piano 1 - Perry Welsh, harp 1 - Doug Killmer, bass 1 - Skip White, drums 1
- Taj Mahal, vocals 2 - Nancy Hall, back vocals 2 - Lee Parvin, back vocals 2, keyboards 7 - Mike Bloomfield, el- & ac.
guitar 2 - Tom Stern, back vocals 2, rhythm & ac. guitar 2, guitar 3,8 banjo 4,5,6,9 - Darol Anger, fiddle 2,3,7 - Ed Neff,
fiddle 2,6 - Joe Goldmark, pedal steel 2,3 - Markie Sanders, bass 2,3,6 - Doug Corrigan, drums 2,3 - Peter Rowan, vocals
3,4,7,8 mandola 4,8 guitar 4,8 - Mark Naftalin, accordion 3, piano 6,10 lap steel 10 - Paul Shelasky, fiddle 4,5,8,9 - Sue
Shelasky, bass 4,8 - Bob Neighbor, trumpet 5 - Jack Frost, guitar 5 - John Moore, bass 5 - Don Humphries, vocal 6, guitar 6
- Ron Thompson, dobro 6 - Bobby Murray, guitar 7,10 - Bobby Vega, bass 7 - Fred Casey, drums 7,10 - Bethany Raine,
vocals 9, bass 9 - Kathy Kallick, back vocals 9, guitar 9 - Ana Rizzo, back vocals 9 - John Reischman, mandolin 9 - Henry
Oden, bas 10
1. You Cant Hurt Me No More
2. Blue Sea Blues
3. The Fiddling of Jacques-Pierre Bordeaux
4. The Old House
5. San
6. Lost John
7. He Will Break Your Heart
8. Bonapartes Retreat
9. Free Little Bird
10. Blues for Special Friends
1981
202
*****
MICHAEL BLOOMFIELD
1981. Jan. 31? Live at the Catalyst, Santa Cruz, California
Michael Bloomfield, vocals, piano 1-5, guitar, 6-11
1. Toothbrush-intro (0.26)
2. Dark Road Blues (3.05)
3. Mean Mistreater (4.58)
4. Shouldnt Say That (2.29)
5. Nobody Knows You When Youre Down And Out (5.06)
6. Kansas City (2.17)
7. TB Blues (5.19)
8. Motorized Blues (2.46) (Country Mechanic)
9. Frankie And Johnny (4.00)
10. Fool For A Cigarette/Feelin Good (3.35)
11. Come On In My Kitchen (4.07)
The track list makes it reliable that the date is after the Italian tour. Much of the same tracks and the piano playing also
indicate that period. The show opens with MB saying: Put the lights on now! and then he does the Toothbrush intro! It
goes like this: I got loaded last night, then I pissed on the floor, brushed it up with my toothbrush. Dont brush my teeth
much anymore.
154
The vocals on the piano tracks could sound like MB was trying to impersonate Ray Charles. Especially on track (5) does
the moaning and groaning have several Uncle Ray trade marks. When he gets the guitar out, his voice starts to sound a little
tired. He sings nice high notes in the Jimmy Rogers song (7) TB Blues and repeats them in the next song too. The guitar
playing is just doing the background for his singing, no pyrotechnics here. After (8) he is trying to find a tune, but leaves it
and falls back on the traditional Frankie And Johnny.
Apparently MB is opening for The Sir Douglas Quintet as he announces them before track (10). Fool For A
Cigarette/Feeling Good has some nice slide guitar moments. He ends with his favorite slow blues. Somebody must do
something to amuse MB, because he cracks up during the song, and at other times you can hear a smile in his voice. This
is a very nice set.
1981.Jan
391
2006?
1-11 CD MICHAEL BLOOMFIELD SEYMOUR 019/020 (JAP) Bootleg (bonus CD with a CD-2)
*****
MICHAEL BLOOMFIELD
1981. Feb. 13. Recorded by Tom Yates and Kate Hayes
1. Interview
Recorded two days before Michael Bloomfield was found dead in his car from a drug overdose. In the interview MB talked
about Super session. He also said the wonderful sentence: The music you listen to becomes the soundtrack of your
life....
In 1981(?) a radio program called: Guitar - A Rock Episode Hour 23 was aired. It was shared between MB and Duane
Allman. It has segments from his last interview and well known tracks from LPs was included: Spoonful from Whats
Shakin - Born In Chicago from the first BBB - Walkin Blues - East West from East-West Groovin Is Easy - Another
County - Killing Floor from A Long Time Comin and Stop - Alberts Shuffle from Super Session.
In the Red Rooster Lounge blues program aired first time in 1986, 32 seconds of the part with the soundtrack of your life
is used. The hour long program has the following songs played: WDIA - Thrift Shop Rag - The Altar Song from If You
Love These Blues, Play Them As You Please, Mr. Johnson And Mr. Dunn - At The Cross from Analine, Orphans blues
from Between The Hard Place And The Ground, Women Lovin Each Other from Junko Partner, Big C Blues - Let
Them Talk from Living in The Fast Lane, Winter Moon - Snowblind from Cruisin For A Bruisin and Knockin
Myself Out from Michael Bloomfield.
1981
397
1983
024
1986
395
2008
518
*****
February 15, 1981
Michael Bloomfield is found dead in his car.
*****
VARIOUS RELATED STUFF
1965
Clips from TV series History of Rock Part 3 taken from the movie FESTIVAL!
Filmed at Newport Folk Festival July 1965.
441
155
*****
SOUTHERN COMFORT
1971
Catero Sound Company, San Francisco - producers Nick Gravenites & John Kahn
Bob Jones, drums, vocals - John Wilmeth, trumpet, flgel horn - Steve Funk, organ, piano - Art Stavro, bass - Ron
Stallings, tenor sax, vocals - Fred Olson, guitars
1. Wild Western Cheetah
2. Talkin Bout My Baby
3. Mountain Girl
4. Ride On Mary
5. All Day Long
6. Love Got Me
7. Come and Sit Down Beside Me
8. Get Back
9. Who Knows
10. Just Like A Friend
One track co-written by Michael Bloomfield. He does not appear on the album.
The drummer and vocalist Bob Jones, wrote this on the web in 2008:
Hi
My name is Bob Jones. I was co-leader (with Fred Burton) of Southern Comfort. We were Memphis Soul freaks. (Booker T,
Otis, etc.
I'm not sure I agree with the "covers" evaluation as many songs were original. Wild Western Cheeta, Mountain Girl, Come
and Sit, etc. Although Mike contributed writing and Nick produced, they did not play.
"Faceless"? I'm on five other Bloomfield albums. I started with We Five as lead guitar player but was playing drums by
Southern Comfort time. Janice wanted Fred and I to join her soul band but we wanted her to use all of the group so it
never happened.
One of our bass players (Karl Severied) now plays with Robert Cray.
Ron Stallings (the other singer besides me) plays with Huey Lewis.
I played with Mike on the road for ten years after SC and eventually returned to my home state of Hawaii where I continue
to play.
Thanks for recognizing us and our work. We were popular with the players at the time (like Tower of Power) and in the
bay area but couldn't get help from CBS to break out nationally.
For more info see www.BobJonesLand.com
1971
226
*****
1972
441
*****
1981 June 10 Neil Young with The Danny Shea Band - Live at The Ritz NY
Mike Bloomfield Tribute. Neil Youngs only spoken tribute is: Now, heres one for Mike and then they play: Baby
What You Want Me To Do. Danny Shea(?) takes over the vocals and opens with: We like to do this one as a special
tribute to Michael Bloomfield, our dear friend, who some of us would be on the road with tonight, have mercy and they
play: Things I Used To Do - Sweet Little RocknRoller.
455
*****
1983
156
A TV-special about Michael Bloomfield with interviews with Nick Gravenites, Bill Graham and many more. Clips with
MB.
1983
440
*****
On a compilation Atlantic Blues: Chicago is one track produced by MB.
1986
? - CD ATLANTIC BLUES: CHICAGO ATLANTIC 81697-2 (US)
*****
Feb. 11, 1988: Mark Naftalins The Blues Power Hour on radio KFOG: The Blues Spotlight on Michael Bloomfield
Introduction by Mark Naftalin - Born In Chicago - Blues With A Feeling - Got A Mind To Give Up Living - Wine Next Time You See Me - Credits by Mark Naftalin
396
*****
1990 David Shorey: Rambova Records 7 EP 1990:
The Gods Love The Blues (Kabars Tune) Ambassador Blues Confidentially Yours Mojave Miles
Dedicated to the Memory of friend and guitarist Mike Bloomfield
*****
1991 Blues Deluxe video.
Has a silent clip with Butterfield Blues Band (without MB). A piano player surrounded by amongst others Paul Butterfield,
Buddy Miles, Al Kooper is not Bloomfield, according to the highest authorities, even if he looks like and plays piano like
him.
*****
2001 September 23 San Francisco Blues Fest.
Robben Ford & Ford Blues Band playing their Tribute to Paul Butterfield for the first time live.
454
*****
2002 December 14 Blues from the Red Rooster Lounge.
451
Presented by Cory Wolfson. Ford Blues Band from In Memory of MB: The Ones I Love Is Gone (written by MB)
and one unreleased track from Fillmore West February 6, 1969: My Heart Beats Like A Hammer with MB on vocals.
*****
2002 December 16 93 XRT Chicagos Finest Rock.
Blues Breakers - Halfway Highlight: Paul Butterfield the day before his 60th anniversary of birth.
Hosted by Tom Marker. Our Love Is Drifting Work Song In My Own Dream
448
*****
2003 Feb. 1 - Blues Edition WCDB Public Radio Spotlight on the music of Mike Bloomfield and Paul Butterfield 422
Hosted by Greg Freerksen. College of DuPage, Glen Ellyn, IL A two hour show with music from records.
*****
House of Blues Radio Hour w/Dan Aykroyd aka Elwood Blues
449
Mitch Woods (piano) at the House of Blues. Speaking of MB as one of his idols. Playing Blues for Michael with James
Cotton which is on Woods latest CD Keeper of the Flame: Blues For Michael In The Palm Of My Hand (MB)
*****
? Buddy Miles reminiscing in song. Electric Flag and MB mentioned. From ?
Still Rock n Roll The Blues
449
157
449
*****
2003 May 30 Chicago Blues Fest.
Roundtable discussion about Big Joe Williams (and a little on Mike Bloomfield and others).
Several persons are speaking.
*****
458
VARIOUS MAGAZINES, BOOKS AND CLIPPINGS with Michael Bloomfield related content:
Rolling Stone??
Meet the Howlin Wolf by Mike Bloomfield
Last page from an article from?
*****
1964. Dec. 3 Down Beat
Review of MB (The Group) playing Big Johns by Pete Welding.
Scan.
*****
1965 March 25 Down Beat
Review by Pete Welding of Paul Butterfields Blues Band at Big Johns in Chicago. MB was not there. Xerox.
*****
1966 January 6 Variety
Review of BBB playing a 50 min. set at Poor Richards, Chicago. Xerox.
*****
1966 February 7 Crawdaddy.
Review of Mellow Down Easy Butterfield Blues Band single on Elektra 45016. Xerox.
*****
1966 March 19 Melody Maker.
Article Shades of Blue A band with a new tradition of blues by Tracy Thomas. Paul Butterfield interview. Xerox.
*****
1966. May Hit Parader.
Article: a Hullabaloo for the Blues The Goldberg-Miller Band. 2 pages. MB is mentioned playing at Big Johns. Xerox.
*****
1966 August
Various reviews of BBBs first album. Xerox.
*****
1966 August?
Reviews of East-West album. Pop Spotlight & Record Mirror & ads: Xerox-1. Mojo Navigator: Xerox-2.
*****
1966. Oct.-Nov. Tour of England
Program for the Fame Farlowe tour of England. 16 pages. Xerox.
158
*****
1966. October 8 Melody Maker.
Butterfields set for RSG! Xerox.
*****
1966 October 22 Melody Maker.
Butterfields Blues Men Aim to Spread Their Gospel in Britain. Xerox.
*****
1966. November 12 Melody Maker.
Butterfields booked for British Clubs. Xerox.
*****
1966. November 14 Disc.
Can you tell Cream from Butterfield? by Hugh Nolan. Xerox.
*****
1966. - Melody Maker.
Marquee Club, London November 10, 90 Wardour St. w/Wynder K. Frog
Ad for this show at the Marquee. Melody Maker Nov. 5, 1966. Xerox.
Ad for this show at the Marquee. Melody Maker Nov. 12, 1966. Xerox.
A short review of this show was brought in the Melody Maker magazine. Xerox.
*****
1966. Melody Maker.
Short interview with MB: The sad Chicago blues scene. Xerox.
*****
1966. Melody Maker.
Ad for East-West. Xerox
*****
1966. November Crawdaddy.
Review of East-West album by Jon Landau. 3 pages. Xerox page 1 page 2 page 3
Blues 66 Interviews Part 2. John Lee Hooker Butterfield Blues Band. 8 pages. Interviewer Paul Williams. Xerox.
Page 1 page 2 page 3 page 4 page 5 page 6 page 7 page 8
*****
1966 November 26 review of Town Hall, NY concert.
Review from unknown news paper or magazine: Butterfield & Blues Band an Impact Act. Xerox.
*****
1966 December 1 Beat Instrumental.
Article Paul Butterfield 1 page by C.P. Xerox.
*****
1966 December 3 Cash Box.
Full page advertisement for Dynovoice 266 She Comes To Me by The Chicago Loop. Full page.
*****
1967 January Crawdaddy
Note about recording and releasing single Come On In. Xerox.
159
*****
1967. January Hit Parader.
Article Mike Bloomfield Puts Down Everything 3 pages. Xerox.
*****
1967. February Hit Parader.
Article Mike Bloomfield Puts Down Everything Part II 2 pages. Xerox.
*****
1967. March Hit Parader.
Article: Meet the Chicago Loop. 2 pages. Its mentioned that MB played on the first single. Xerox
*****
1967 April 11 Advertisement
The Caf Au Go Go, 152 Bleeker Street, NY is advertising (from The Village Voice?): Jam session tonite Butterfield
Band The Cream Eric Clapton Mike Bloomfield and others. Adm. $3. Beg. 8 pm to 4 cont.. What a night! As it
turned out, Bloomfield did not participate, it was only BB King, Eric Clapton and Elvin Bishop. In the interview below
from May Elvin talks about the evening. There is a picture from that night, showing the three aces. Usually Elvin is edited
out of the picture (see CD booklet Riding with the King). Xerox.
*****
1967 May Hit Parader.
Interview with Elvin Bishop about jamming with BB King and Clapton and taking over in BBB after Bloomfield and other
stuff. 2 pages. Xerox. Page 1 page 2.
*****
1967. Sept. 22. Los Angeles Free Press
Mike Bloomfield: Honkies Cant Dig Soul Music 2 pages. By Bill Kerby from an interview with MB.
*****
1967 December Hit Parader.
Interview (part 1) with Elvin Bishop. 2 pages. Xerox. Page 1 page 2.
*****
1968. April 6. Rolling Stone.
Interview with MB (1st page missing). The conclusion of the interview is in the next issue. Xerox
*****
1968. June Hit Parader.
Article Impressions Of Bob Dylan by Mike Bloomfield. 3 pages. Pic from the article.
Interview (part 2) with Elvin Bishop. 2 pages.
160
*****
1969 June 26 Down Beat.
Article by Don DeMicheal: Up with the blues: Mike Bloomfield. 3 pages. Cover.
Review by Don DeMicheal: Muddy Waters Michael Bloomfield Paul Butterfield. From the live part of Fathers and
Sons session. 1 page.
*****
1969 August 7 Down Beat
Father and Son: An interview with Muddy Waters and Paul Butterfield by Don DeMicheal. 3 pages. Also Otis Spann is
interviewed. Xerox. Page 1 page 2 page 3.
*****
1969 October 18 Rolling Stone LA Free Press Melody Maker.
Review of Fathers and Sons album. Xerox. 1 page.
*****
1969. Dec. Hit Parader.
Article on Fathers and Sons. Review of the concert by Irv Mosrowitz. 3 pages. Xerox
*****
1971 June Guitar Player.
Article: Michael Bloomfield: straight stone city blues. 7 pages. Pic from the article.
*****
1971 August Guitar Player.
Article: straight stone city blues Part II. MB talks about his intrumentation, musical goals, his new album, equipment,
technique and more. 5 pages. Xerox
*****
1972 January 6 Rolling Stone.
Two Nights Only: Butter & Bloomer A review of a reunion gig in Boston probably December 21 and 22, 1971. Xerox.
*****
1973 March 29 Rolling Stone.
Review of another reunion gig at Winterland. Xerox.
*****
1973 Improvising Rock Guitar Green Note Music Publications
Foreword by Michael Bloomfield. Includes demo flexi record (No MB). Cover.
*****
1974 August 1 Zoo World # 64, The Music Magazine.
Article on Electric Flag by Arthur Levy. 4 pages with original photos. Cover.
*****
1976 June 11 The Rock-n-Roll News.
Cover and a two page interview
*****
1976 June BAM Bay Area Music 76 A free magazine.
161
A 2 pages article: Mike Bloomfield: I wanna be the best. Picture from the article.
1976 December BAM Bay Area Music 76 Special Anniversary Issue (New Year) A free magazine
A 2 pages article: Mike Bloomfield: I wanna be the best. Reprint from the June issue. Pic from the article
Also article on The Catalyst, Santa Cruz.
*****
1977. February 10 Rolling Stone
Article Backstage At The Creation by Al Kooper with Ben Edmonds. 9 pages. From Koopers book Backstage Passes
Rock n Roll Life in the Sixties published by stein & Day 1977. Pic of Al Kooper, Norman Rockwell, MB.
450
*****
1980 Me And Big Joe by Michel Bloomfield with S. Summerville. RE/SEARCH productions.
The original was printed in 1980 and sold for $2.95. Cover.
In the 1990s it was reprinted, now selling for $5.99. Cover.
The original sells for big money these days, so beware!
*****
December 1980 - High Times.
The magazine has the Me and Big Joe short story by Michael Bloomfield with original illustrations by Robert Crumb.
Crumb drawing of MB and Big Joe. 7 pages.
*****
1981 April 2 Rolling Stone #340
Article Michael Bloomfield A right to play the blues by Tom Wheeler. 4 pages. Magazine.
*****
1981 Summer Jefferson Blues Magazine No. 52 (Sweden)
Obituary with picture from MBs visit to Sweden in Sep. 1980.
162
*****
1983 Ed Ward: Michael Bloomfield The Rise and Fall of an American Guitar Hero Cherry Lane Books 1983.
The first ever MB discography. Many fine pictures and lots of information. A must for MB fans. Cover.
*****
1983 The History of Rock # 62.
Article Blues In Bloom about MB by Dave Walters. 3 pages. Page 1 page 2 page 3.
*****
1983 June High Times.
Copping - Stories from a Lifetime of Getting High on the Road by Michael Bloomfield as told to Larry Sloman. 7 pages.
Drawing from the article.
*****
1985 January 4 Goldmine vol. 10 issue 25 number 116.
Article Michael Bloomfield The Coming of Age of the Electric Guitar by Howard Mandel. 4 pages + cover.
Includes discography taken from Ed Wards book.
*****
1987 June 19 Goldmine
Paul Butterfield dead at 44 (May 4, 1987). Xerox.
*****
Review of Lost Elektra Sessions by Al Kooper. Xerox.
Review of Lost Elektra Sessions from vaious magazines. Xerox.
*****
1994. Sept./Oct. 20th Century Guitar
Article: The Legendary Michael Bloomfield with Al Kooper, Harvey Brooks & Jimmy Vivino. Introduction by Mark
Lotito. Cover and 9 pages. Xerox
*****
1995 July 15 Rolling Stone and others.
Review of Winner 446 Strawberry jam CD. Xerox.
*****
Review of Winner 447 East-West Live CD by Jan Mark Wolkin for Winner. Xerox.
*****
1997 July Vintage Guitar, vol. 11 No. 10.
Article Mike Bloomfield A Legend in His Timeand Ours by Dave Kyle. 3 pages. Cover.
Pictures from a show at Ravoli Theater, Indianapolis, 1973.
*****
1997 August Vintage Guitar, vol. 11 No. 11.
Article Remembering Michael Bloomfield Advertised in No. 10.
*****
2000 Promotional booklet for the book: If you love these blues An oral history.
163
164
personally, I would run across fifty or more great deals on pieces I didn't want for my own collection but which I could sell
or trade for a profit. When I would go into a music store or pawn shop or check classified ads looking specifically for pre
World War II Martin guitars, old Gibson mandolins, and pre World War II Gibson and Vega five string banjos, I would find
that for every one of these I would encountered there might be fifty or more great deals on both electric and acoustic
instruments which I could either trade or resell for a profit but which I did not have any desire to keep for myself. I would
purchase these instruments not with any real intention of becoming a dealer but because the only way I could afford to
support my hobby was to sell or trade instruments such as these to get the ones I wanted. I always had five or six guitars in
my dorm room. Later I had an apartment near campus and had part of my bedroom filled with instruments. By the time I
was in my second year of graduate school studying zoology and animal behavior psychology, I had one bedroom stacked
with guitar cases at least three feet deep.
In 1970 I joined with a partner, Tut Taylor and our one employee, Randy Wood to set up GTR Incorporated in Nashville,
Tennessee. The initials stood for George, Tut, and Randy and also were an abbreviation for guitar. The partnership with Tut
lasted only nine months, but Randy stayed with me for almost three years doing repair and custom building. The shop was
located across the alley from the stage door of the Ryman Auditorium which housed the Grand Ole Opry through 1974. The
company name was changed to Gruhn Guitars Incorporated in 1976. Today we are in our third building, but we never
moved over one hundred feet from the first location and are in fact today located directly next door to where we started,
although the first building has long since been torn down.
Back in 1970 when I first opened up the store, I was one of the very few vintage guitar dealers in the world. Guitar Player
magazine was the only guitar related magazine I knew of. There were virtually no articles on the subject of vintage guitars,
and there were certainly no books available on the subject. Prices of vintage instruments were much higher than when I had
started out in 1963, but were still ridiculously low by the standards of today. New instruments from Martin, Gibson, Fender,
Gretsch, and other American manufacturers during the early to mid 1970's were nowhere near the quality that could be
found with vintage guitars. Many of the musicians of that time chose to play vintage instruments not because they were
interested in collector's items but because the new ones of the day simply did not suit them. The 1970's were a low point in
quality for virtually all manufactured goods ranging from guitars to automobiles to furniture and most other consumer
goods. While there was clearly a demand at this time for better quality instruments, the major manufacturers were
concentrating on mass production rather than recreating the quality of their 'golden era', and there were virtually no small
boutique manufacturers or hand builders on the scene. I used to joke that if I lost a finger on my left hand for each good
hand builder of instruments that could rival guitars made by Martin, Gibson, Fender, or Guild, I would still have at least as
many usable digits as Django Reinhardt and could still play a tune. Needless to say, times have changed. Today the Guild of
American Luthiers has over three thousand members and the Association of Stringed Instrument Artisans also has several
thousand. Even if only a small percentage of these members are producing good guitars, the total still is considerable.
The market has evolved dramatically over the years. Today there are numerous guitar specialty shops and vintage
instrument dealers who advertise on the Internet, in a variety of vintage instrument magazines, and attend hundreds of guitar
shows. The traditional large scale manufacturers like Martin, Gibson, and Fender have greatly improved their quality over
what they offered in the 1970's and have been joined by numerous competitors such as Paul Reed Smith, Taylor, Larrivee,
Santa Cruz, and Collings which compete in the marketplace. The variety and number of makers producing high quality
guitars today is greater than at any other time in the history of the instrument. While I am firmly of the opinion that the
1920's and 1930's were the golden era of acoustic guitar production and the 1950's can be said to be the golden era of
electric guitar production, the major manufacturers today as well as numerous smaller companies and hand builders are
producing guitars which are indisputably of fine quality and are eminently suitable for professional use on stage or in the
studio. This is a remarkable contrast to a time when I first opened my store when if one wanted a good instrument suitable
for professional use one was limited to vintage instruments since the new ones simply weren't good enough.
Over the years that I have been involved, vintage instruments have been a great investment. There have been times when
they have gone up dramatically in price and I have seen some periods such as from 1976 through the early 1980's when
prices seemed to stabilize, but in the entire time I have been involved with guitars I have never seen prices crash. 2003 will
mark forty years since I bought my first guitar and started dealing instruments. I have been at it long enough to see sunburst
Les Pauls go from a market price of $100 to having premium quality ones with beautifully figured curly maple tops selling
for well over $100,000. Some instruments which I sold for $400 to $500 when I first opened my shop in 1970 would today
bring well over $20,000. Although instruments such as old Les Pauls, Telecasters, Stratocasters, pre World War II Martin D28's, pre World War II flat head Mastertones, and Loar signed F-5's receive a great deal of attention due to their
astronomical prices, it is worth noting that many very fine vintage models are still readily available today at prices no more
than and in some cases less than comparable new instruments. Vintage instruments as well as some used recent issue
instruments and carefully selected new instruments have the potential to be excellent investments for the future. The stock
market and other investments have been far less stable over the years than the fretted instrument market. Especially in the
past couple of years when many stocks have lost more than half their value, the fretted instrument market by contrast looks
like a safe haven. Most fretted instruments during the past couple of years have either been very stable in value or have gone
up. Some, such as Loar signed F-5 mandolins made from 1922 through 1924, have doubled in the past couple of years.
165
Guitars, banjos, and mandolins have the added appeal over stocks and bonds that they are beautiful pieces of art and are
great fun to play.
I look forward to your comments and questions and will do my best to personally respond to every one of them.
Sincerely,
George Gruhn
*****
2006. February 12 - CHICAGO SUN TIMES
Burning for the blues
BY JEFF JOHNSON STAFF REPORTER
Entertainment
166
The North Shore millionaire's kid found a running mate in Mississippi-born harmonica ace Charlie Musselwhite, his Near
North Side neighbor. Bloomfield had an apartment in Carl Sandburg Village, while Musselwhite and acoustic blues veteran
Big Joe Williams rented rooms in back of a record shop.
"Down the street was a little neighborhood bar named Big John's," Musselwhite recalls. "Over the Fourth of July, they
thought it would be nice to have some folk music and asked Joe to play. I played harp with him. They did great business and
asked Joe, 'Can you come back tomorrow?' It turned into a regular gig. Mike came down and saw an old upright piano and
asked if he could play that. He came back for the next six months. Joe couldn't stay in someplace too long, so he left. Mike
and I kept the gig going, and we got a bass player and a drummer.
"People really responded to live electric blues. We told the owners, 'Why don't you get people like Howlin' Wolf and Muddy
Waters?' So on nights we didn't play, they got blues bands from the South Side to come up and play. Other bars saw they
were doing great business, and they hired them, too."
Bloomfield and Musselwhite moved on to a better-paying gig at Magoo's, and their partner in their nocturnal blues forays,
Paul Butterfield, took their place at Big John's. Butterfield had been playing at Hyde Park sorority parties before landing the
North Side gig. The two kept their residency at Magoo's for a year, until their workload -- seven sets a night, from 9 p.m. to
4 a.m. -- became so grueling they gave it up.
Meanwhile, in New York, the Paul Butterfield Blues Band landed a deal with Elektra. They were recording while
Bloomfield and Musselwhite were in the Big Apple to cut an album for Columbia, and producer Paul Rothchild urged
Butterfield to add Bloomfield to the lineup.
After two Butterfield albums, Bloomfield grew restless. He formed the Electric Flag, promoted by Columbia Records as "an
American music band" and as a supergroup with horns. Bloomfield envisioned the group as a Stax-Volt-inspired R&B
outfit. The band included his Chicago pals Nick Gravenites on rhythm guitar and vocals and Barry Goldberg on keyboards,
as well as Buddy Miles on drums and vocals.
The Flag debuted at the Monterey Pop Festival in 1967 to overwhelming response, according to Norman Dayron,
Bloomfield's producer for nearly 20 years and close friend.
"I was there in '67, and they weren't talking about Jimi Hendrix or Janis Joplin, they were talking about the Electric Flag,"
Dayron asserts. "Their performance blew the house down, and everybody was hailing him as the genius of all time."
Bloomfield kept the band together for 18 months and one fine album, "A Long Time Comin'." When he began blowing off
gigs and finally blew up the original lineup, the Flag did one more LP under Miles' leadership.
Session ace Al Kooper sold Columbia on the "Super Session" jam-record concept as a showcase for Bloomfield's guitar.
Then, despite super sales, Bloomfield rejected "Super Session" and the subsequent "Live Adventures" disc as a scam. But
Kooper defends those ventures.
"We had no expectations for sales on this album, and when it dented the Top 10 and outsold Butterfield, the Blues Project
[Kooper's answer to the Electric Flag] and the Flag, he was actually embarrassed. The son of a wealthy man, he had turned
to the blues world to rebel against his real world. On 'Super Session,' we outsold the blues world, and that surprised both of
us.
"On 'Live Adventures,' the timing was not great for Michael healthwise and his playing suffered. Another live recording
from that time period, from the Fillmore East, went missing for 30 years. As soon as it was located, I went to work on it.
Michael's playing is amazing. I released that in 2002 as 'The Lost Concert.' It kind of makes up for 'Live Adventures.' "
There are two schools of thought on Bloomfield's last years. Musselwhite and others believe he became stuck in a creative
morass, made worse by drug use and distaste for the "business" end of the music business. A few, including Dayron, think
he did some of his finest playing in the '70s for Tacoma and other specialty labels.
There's universal agreement, though, that his biggest commercial endeavors of the decade, the Electric Flag reunion of 1974
and MCA Records' 1975 "supergroup," KGB, were ill-advised efforts to cash in on the Bloomfield mystique.
Such commercial projects were painful for Bloomfield.
"Michael said he had a wire running from ear to ear that would become red hot," Dayron says. "He couldn't hold a band
together because his ideas were so revolutionary and so hot. When he got frustrated, he would turn to his favorite thing -watching the Johnny Carson show. One time he was booked to play for 3,000 people in Vancouver. The Carson show was
on the same time, so he didn't go on. Michael walked out, left four guitars behind and checked into a motel that had a TV
before flying home."
167
Musselwhite visited Bloomfield a few times at his San Francisco home, "but he'd gotten way off into heroin. It was like he
was lost. I remember him saying his dream was to be an English baron with a castle, land and all the heroin he wanted. He
might have had some kind of chemical imbalance. One time we drove from New York to Chicago, and all the way he'd be
spitting out the car window. When we got back, I saw all the paint had been eaten away on the side of the car from his
spitting."
Allen Bloomfield maintains that his brother was bipolar, and might have survived had psychiatry known more then about
the disorder. His death on Feb. 15, 1981, saddened but did not surprise his friends. His body was found in his car in a San
Francisco neighborhood where one of his heroin connections lived, though he officially died of an overdose of cocaine, a
drug he never used. Speculation was that his dealer tried to revive him after a heroin overdose with a shot of cocaine, and
when that failed, they dumped his body in the car.
But like Big Joe, Robert and his other heroes, Mike Bloomfield lived and died the life of a real bluesman. And like the great
rockers of his generation, he soared musically because he refused to conform to the earthbound notions of the less creatively
gifted.
[email protected]
WHAT'S GOING ON?
APT Films in London has taken on option on Michael Bloomfield: If You Love These Blues, a 2000 oral history, with the
goal of making a feature-length film on Bloomfield's life.
While that project may be years down the road, San Francisco filmmaker Robert Sarles and his Raven Productions have
already completed as many as 20 interviews with those closest to Bloomfield for an upcoming documentary.
Bloomfield's old "Super Session" partner Al Kooper keeps the musical legacy alive through a series of recent tribute gigs
with his Rekooperators band, which includes Jimmy Vivino and Mike Merritt from Conan O'Brien's band and Anton Fig
from David Letterman's show.
Bloomfield's recorded legacy should be enhanced with the planned release of recordings from the Fillmore East and West
archives, as well as what's expected to be the definitive box set of Bloomfield's material, including his lesser-known work
for Tacoma and other indies.
And at least one fan is working to rename the street in front of his boyhood home at 424 W. Melrose "Michael Bloomfield
Way," although Bloomfield's brother Allen admits that the local alderman is not entirely sold on the idea.
Jeff Johnson
Music
Bloomers and Butter: true pioneers
February 12, 2006
BY JEFF JOHNSON STAFF REPORTER
To call the first Paul Butterfield Blues Band album "groundbreaking" is an understatement. The band featured a young,
white leader with slicked-back hair whose harp playing conjured Big Walter and Little Walter, two take-no-prisoners
guitarists in Michael Bloomfield and Elvin Bishop who could trade leads with the greatest of ease, and an older, AfricanAmerican rhythm section of drummer Sam Lay and bassist Jerome Arnold who cut their teeth in Howlin' Wolf's band.
Bloomers and Butter -- the "Born in Chicago" boys -- and their bandmates inspired a generation of young players as diverse
as Carlos Santana, George Thorogood and Jorma Kaukonen with their muscular blues sound. It was a respectable re-creation
of the Delta blues that previously had been confined largely to the South and West Sides.
"It was a matter of being in the right place at the right time with the right stuff," Bishop says. "There was this great big huge
body of music, the blues, and this great big potential audience in the United States for this non-white music. The Butterfield
Band was there to deliver it. People will accept something from somebody who looks more like them. It's a sad but true fact.
We weren't playing it as well as our idols, Muddy [Waters] and Wolf."
After the successful debut LP, Bloomfield's restless soul wouldn't sit still for another straight-ahead Chicago blues album, so
he found a way to incorporate world-music influences in the second Butterfield Band disc, "East-West."
"He would try stuff nobody else would do," Bishop says. "We listened to [John] Coltrane and Pharoah Sanders and Ravi
Shankar. Bloomers figured out how to play that stuff within a blues band."
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For such an accomplished guitarist, Bloomfield also put a premium on showmanship, as was evident in his "fire-eating act"
when the band performed "East-West" live.
"We did that at least 20 minutes live, and halfway through the song, he'd get this thing out that you'd beat a kettle drum with
and dip it in lighter fluid," Bishop recalls. "He said the secret was, 'Don't inhale.' We did this at the old Fillmore [West]
Theater, and for all these hippies who were stoned on acid, it was a real mind-blower. People went crazy. He was the type of
guy who'd do that."
Blues harpist Charlie Musselwhite marvels at his old pal Bloomfield's affinity for working a crowd.
"I didn't care for being in front of people, and one time I mentioned that to Mike, and he said that for him, there was nothing
greater than being in front of a roomful of people all looking at him," he says. "He thrived on that."
His flair for entertaining extended to parlor tricks, Musselwhite says. "He could take razor blades and chew them up and spit
'em out, and he'd put out lit cigarettes on his tongue. If he was reading a book, he'd tear out the page and eat it when he
finished it. And he had a photographic memory. I could open a book and tell him a page number, and he'd quote word for
word from that particular page."
Bloomfield's departure from Butterfield was evolutionary, Bishop maintains. "I think with both his split and my split, it
wasn't any violent argument like you read about in the tabloids," he says. "It was a guy who played in a band and did his part
and thought, 'Wouldn't it be great to play all the songs that I choose rather than two or three songs?' "
After Bloomfield went off to form the Electric Flag, Butterfield soon added horns in his group. And Butterfield joined
Bloomfield on Waters' "Fathers & Sons" project in 1969. Butterfield struggled with alcoholism while continuing to perform
until his own death at age 44 in 1987. (SIC!!)
February 12, 2006 - When Bloomfield met Bob
BY JEFF JOHNSON STAFF REPORTER
Bob Dylan met Michael Bloomfield in Chicago in 1963 and quickly resolved to play with the brilliant guitarist. Two years
later, Bloomfield joined Dylan for the "Highway 61 Revisited" sessions that yielded "Like a Rolling Stone," the namesake
magazine's choice as greatest rock song of all time. He also backed up Dylan at the historic Newport Folk Festival when the
folk god "went electric."
Al Kooper recalls attending the "Highway 61" session as a 21-year-old studio guitarist. "I was quite ambitious and decided I
would try and play on the session. So I got there early, and set up and sat there as if I had been hired. In come Dylan and
Bloomfield together. Bloomfield sits down next to me, says hello and begins to warm up on a cream-colored Telecaster. I
was aghast. I had never heard anyone play live like that, much less a white person approximately my own age. As soon as
possible, I packed up my guitar and went into the control room where I belonged."
Bloomfield's contribution went beyond his guitar work, says producer Norman Dayron, who was there for that session. "He
was the music director for that band," he says. "He arranged 'Like a Rolling Stone' -- Dylan didn't do that."
In November 1980, singer Maria Muldaur and Dylan visited Bloomfield at his San Francisco home, and Dylan invited him
to sit in at the Warfield Theater the next night. Bloomfield told Dayron, who encouraged him to take him up on it.
"Bob gave about a 10-minute introduction to these young people about how much Michael meant to him and what a genius
he was," Dayron recalls. "He called him 'one of the rare geniuses of American music who had given me his sound.' Michael
shuffles onstage wearing sheepskin worn-out bedroom slippers with the heels scrunched up and jeans with the knees ripped
out. He had on a football T-shirt from the high school in Mill Valley where he lived. He picked up a borrowed guitar and in
my view played brilliantly the entire evening."
It was Bloomfield's last live appearance. Three months later, he was dead.
Jeff Johnson
200? from ?
Crosstown Traffic Chicagos blue eyed R&B sound.
Part One: Tired and Busted Mike Bloomfields Early Years.
An article by Jack Morton.
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