Bloomfield, Michael

Vinyl Records and Rare LPs:

New - LP - ST 72759
Sealed 1987 2nd Issue. more
Used - LP - B 1059
1977 Black & Gold Label Original In Shrink Wrap. Appears Glossy, Unplayed. “On This Album, Michael Bloomfield Continued The Country Blues And Folk Explorations Of His Grammy-Nominated Instructional Outing, If You Love These Blues Play 'Em As You Please (1976). For Analine, He Worked In An Acoustic, Often Single-Handed Mode, Being The Only Musician On Seven Of Its Nine Tracks (And Writing Just Over Half The Material, Too). Such One-Man Efforts Often Carry An Air Of Sterility About Them, But Not Here; Bloomfield's Version Of Duke Ellington's "Mood Indigo" Retains The Jaunty Swing Feel Associated With Its Composer. The Solo Guitar Pieces Are Equally Well Executed, Particularly "Effinonna Rag" And The Tribute To "Mr. Johnson And Mr. Dunn," Where Bloomfield Plays Dueling Guitar Parts In The Blues Pioneers' Style. Along The Way, Bloomfield Taps Into Folk ("Frankie And Johnny"), Gospel ("At The Cross"), And Even Hawaiian Idioms ("Hilo Waltz"). He Also Sings Two Stirring Originals About Cancer ("Big 'C' Blues") And A Hapless Voyeur (The Hilarious "Peepin' An' A Moanin' Blues"). Former Electric Flag Singer And Cohort Nick Gravenites Contributes And Sings The Title Track, Whose Mandolin And Accordion Runs Close The Album On An Epic Note. This Is A Well-Executed Labor Of Love That Shows Bloomfield In A Different Context Than Many Listeners Will Associate With Him.” Ralph Heibutzki, AMG. more
Crusin' For A Bruisin'
New - LP - TAK 7091
Sealed 1981 Original. Cut Corner. more
Live Adventures
Used - LP - MA 20784
1982 Heavy Vinyl Original In Shrink Wrap. Appears Glossy, Unplayed. more
Living In The Fast Lane
1980 Original In Shrink Wrap With Insert. Appears Glossy, Unplayed. “An Artist's Final Album Always Sits Heavily On The Shelf, And Even More So When That Life Has Been Cut Abruptly Short, Becoming An Unintended Epitaph To What Was A Still Flourishing Career. Thus, Living In The Fast Lane Has A Weighty Burden To Bear, One That Michael Bloomfield Never Meant It To Shoulder, Yet The Set Does So With Remarkable Ease. There's A Definite Joie De Vivre Found Within, Partly, One Presumes, A Reflection Of The Happiness Of Reuniting With Myriad Former Cohorts, Among Them Mark Naftalin And Bob Jones, Who Both Played On Bloomfield's Debut Solo Album Back In 1969, And Ex-Electric Flag Roger Troy. A Gospel Choir And An Entire Band Provide Backing Vocals And A Horn Section, Which Hints At The Many Styles Showcased Within. The Set Kicks Off With "Maudie," A Classic R&B Number That Brilliantly Highlights Naftalin's Piano Skills, Bloomfield's Own Keyboard Talent, And Even More Spectacularly His Emotive, Fluid Guitar Style, As His Leads Wind Round Vocalist Frank Biner, Almost Engaging Him In Conversation. On The Indeed Ragtime-Flavored "Watkin's Rag" Bloomfield Plays Everything Flawlessly, Of Course, Even As He Attempts To Outdo Himself In Places. That's An Instrumental, While On "Big C Blues" He Also Picks Up The Mike, Defiantly Determined To Have A Good Time, As His Piano And Slide Guitar Vie For Attention. Bloomfield Sings Out His Own Frustration At Himself On The Autobiographical "Used To It," A Funk-Drenched Self-Pummeling. "Roots" Is Equally Funky, But In A Slicker Temptations Style That Stresses The Importance Of Knowing Where You Come From. Bloomfield Certainly Does And Is Keen To Highlight All The Styles That So Influenced Him Within This Set. With Gospel-Flecked Blues, Country-Speckled Blues, Lavish Soul, Jazzy Ragtime, R&B, And On "Andy's Bad" Even A Touch Of Hip-Hop, Bloomfield And Company Showcase Blues Of Many Shades, Progenitors, And Descendents. The Musicianship Is Sensational, The Vocalists Superb, And Bloomfield Is On Fire, Yet There's No Struggle And Strain To Succeed, Just A Sublime Atmosphere. Fans Will Insist He Made Much Better Sets, And They'd Be Right, But Regardless, This Album Remains A Magnificent Achievement, One That's Lost None Of Its Power Over The Years.” Jo-Ann Greene, AMG. more
Michael Bloomfield
Used - LP - B 1063
1978 Black & Gold Label Heavy Vinyl Original In Shrink Wrap. Glossy, Unplayed Condition. "This Self-Titled Effort Found Bloomfield Reaching Back To His Nightclub Roots, Following Forays Into Acoustic Music (Analine), Sleazy R&B-Derived Rock (Count Talent & The Originals), Instructional Albums (If You Love These Blues Play 'Em As You Please), And Gospel Guitar Duets (Bloomfield/Harris). Six Of The Eight Tracks Here Are Blues Standards That Bloomfield Tailored To His Aggressive And In-Your-Face Guitar Style. The Sound Mirrors Count Talent’s Barroom Lurch, Only With A Smaller Cast. This Time, The Bedrock Is Drummer-Vocalist Bob Jones And Bassist "Gashouse Dave" Shorey, With Bloomfield Shouldering The Multi-Instrumental Load. Bloomfield Adds Some Deft Touches, Such As Lead Acoustic Guitar And Six-String Banjo On "Knockin' Myself Out," A Darkly Humorous Look At Self-Destruction. "Sloppy Drunk" Sketches The Alcoholic's Life From A Lighter Standpoint, While "Women Loving Each Other" Is A Frank Examination Of Lesbianism, From The Jilted Man's Side. Bloomfield And Friends Also Nod To Their Roots On A Haunting Rendition Of "See That My Grave Is Kept Clean," Which Glows From His Accordion, Piano, And Acoustic Slide Guitar. This Album Is Among His Most Consistent Efforts; Needless To Say, It's Also Extremely Scarce, So Snatch It Up Before Another Knowledgeable Person Gets There First." Ralph Heibutzki, AMG. more

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