Classic Album Review: Mike Bloomfield “Greatest Hits” - 1996 (Classics 7609)I

Classic Album Review: Mike Bloomfield “Greatest Hits” - 1996 (Classics 7609)

Reprinted from Delta Snake E-Zine Jan. 1996 Issue.

Note: in the 90s, many of Bloomfield’s Takoma and small label recordings were released and reissued to a sometimes mixed reaction. His fans enjoyed his work and others felt it was minor compared to his earlier work with Paul Butterfield, Bob Dylan and Electric Flag.

The Delta Snake E-zine in 1996 reviewed any Bloomfield album on its own merits. In this case, the reviewer, me, also used the opportunity to talk a bit about his earlier work to give this Takoma album some context. It’s reprinted here with minimal editing to retain its original tone and outlook.

I know there are more obvious choices for a “classic record” review, since this one is a midline reissue of one of his smaller label solo works, like on the Takoma label. However, these releases are not as well known as his historic work with the Paul Butterfield Blues Band, Bob Dylan, and Electric Flag, so this featured review may be of real interest to you.

The early parts of Bloomfield's career are pretty well known; two albums with the Butterfield Blues Band, a well received guest shot (one side) in Al Kooper's "Super Session" and "Live" records, session work with Bob Dylan (notably "Like A Rolling Stone"), and that great near-miss, the Electric Flag. During that time, he arguably became America's first rock "guitar hero," and was an inspiration to many a guitarist who later became famous in the 60's. To this day, he is an admired artist amongst players.

He was a superb technician, but the quality that made him such a legend was that passion and fire that was present in every solo. Each note, it seemed, was attacked and approached with the same care a singer would take with a vocal passage. He had that rare quality; a soloist one could both admire for his skills, and be awed by his intensity and passion.

This passion was fueled by uncompromising commitment and honesty. It's been written that Dylan, after the "Stone" sessions, offered him a gig with his band. Bloomfield turned down what probably would have made him a star on par with, say, Eric Clapton, for one simple reason; he wanted to just play the blues.

In 1973, he recorded a strong blues set with Dr. John and Nick Gravenites called "Triumvirate," after which his output became sporadic for a few years; a dry spell that continued until the time he came out with a record for Guitar Player Magazine in ‘76 titled, “If You Love These Blues, Play ‘Em As You Please.” The record was intended to be instructional, and even had spoken intro's to each song. Each song was a different style of blues, and covered a range that included 20's fingerpicking, to 50's Chicago. The record became very popular, and created renewed interest in his music. The playing was superb, and to this day is seen as one of his finest works, this writer included.

Bloomfield also began recording a series of solo albums for Takoma, the same label that John Fahey recorded on. Reviews were often mixed, mainly because the performances perhaps disappointed those who were expecting another "East-West" or Electric Flag. However, on the whole, most critics liked the more personal and intimate work he was now creating.

In interviews during that period, Bloomfield did make it clear that he had widened his explorations. Those Takoma releases now included some folk and country, and songs from the 20's that were obscure for various reasons, including some controversial lyrics (such as "Women Lovin' Each Other").

Also, his technical approach had changed somewhat. Bloomfield now often used his fingers instead of a pick, which gave him a tighter, funkier sound. The records now featured his singing, which was quite good from the start, and as time went on, often great. Overall, the music had a looser feel, more downhome and less intense in terms of rock dynamics. However, even the most casual listener would find that the guitar solos had merely changed context and feel. Mike's ability to grab your attention with just a few notes hadn't diminished a bit.

This is a reissue of one of those Takoma albums, the title of which, unfortunately, escapes me. The set is a combination of live and studio cuts, and was one of his best works. There is basically no documentation either, and the only reason I know it's from that era is that I recognize several of the songs.

The music begins with a loose version of "Hully Gully," which has a melody most fans of 50's music will recognize. This leads into the country-style "Wings Of An Angel," and Ernest Tubb's "Walking The Floor Over You," which is definitely country. Both of the country songs aren't done straight, of course, but have a definite blues feel, and feature some piano work by Mike. A laid back shuffle follows, "Junko Partner," which has a 20's jazz feel, and features a good vocal by Bloomfield.

A slow, but intense "Women Loving Each Other," ends the side. The song, which is about lesbianism, isn't actually very shocking by 90's standards, and the lyrics basically focus on the fact of it's existence, and not sensationalism. In fact, there's really no notable sense of judgement or opinion in the lyrics. What you will notice, however, is that the song features an excellent vocal performance by Mike, and that the guitar solo, which includes some slide, is as good as he's ever recorded. As it was picked with his fingers, the taut, tight notes will definitely appeal to those who like Albert Collin's music.

The set opens with a New Orleans style "Hully Gully," an arrangement with a pleasant looseness...a perfect bar blues. In sharp contrast, his guitar solo has a sharp attack, a good example of the better tone and feel he got playing with fingers instead of a pick. The approach gives the guitar a funkier tone, and you'd think it was some 60 year old bluesman playing.

The country-flavored shuffle "Wings Of An Angel" follows, although blues fans might be less put off by that description when I say it's country the way Jerry Lee Lewis would do it. The piano adds a honky-tonk feel in this number. In songs throughout the set, the interaction with Mike Bloomfield's guitar work is as close as anything Big Bill Broonzy did in the 30's. Which I imagine was the intention.

There's no mistaking the country in "Walking The Floor Over You," the old Ernest Tubb classic, although in this case, it's done New Orleans Barrellhouse style. A lightweight, but strangely catchy "Junco Partner,"

comes next. It's an odd blend of country, blues, and to these ears, a slight reggae feel. It might seem a bit light to those who prefer "Born In Chicago," but of all the numbers, it's the one that keeps playing over and over in my mind. I may have to revise my "lightweight" tag if that stays the case.

A very tough, "Women Lovin' Each Other" follows, and it was a song Mike talked about in an interview I read a long time ago. Not that he was into the subject per se, but the point he made was that there were a LOT of old

20's and 30's blues that covered off-beat and unusual subjects that haven't been discovered by the average fan. This was one song he found interesting, as its context is certainly different now, and already was becoming so back when he recorded this song in the late 70's, early 80's. The song itself is a great slow Chicago blues, with Bloomfield singing the lyrics with a raunchy energy, and punctuating it with some of his best ever slide work. Very tough slide.

The second side opens with "Don't Lie To Me," which is a fast blues with a boppish feel. It may remind some of a jazzy version of the "East-West" arrangement. His solo has a nice, sinuous quality to it, and would impress any jazzbo short of a fusion fan.

The bop leads into a type of blues arrangement that was fairly unique to Bloomfield during this period; which featured a fingerpicked opening of a 20's style blues, often in tandem with a piano, with a middle solo section that was single-note style, like a Chicago player would play. Obviously, some of you will note that it was a style that Hot Tuna did, and did well also, but their middle sections often went psychedelic or rock, while Mike's stayed within the blues realm. It was a great remaking of the Broonzy-piano duet style, with the addition of soloing from a later period.

A very downhome "Cherry Red," brings the tempo down, and changes the mood. It's a great slow blues, loose and laid back, with an "after-hours" feel. A slow barrelhouse blues comes next, and then the tape closes with "You Must Have Jesus," a fingerpicked rag that moves into a medium tempo blues, with single note soloing.

It's a tape that may dismay those who prefer his more intense early works. I can't really judge that, myself, as it's comparing apples to oranges. With the change in picking approach, and the variety of forms he explored in his famous "If You Love These Blues" record, a more eclectic approach was probably inevitable. Certainly fans of the very early blues (before 50's Chicago) will find much of this material quite listenable, and filled with as much passion and energy as the rawest Texas artist. It really comes down to what one considers the blues, I guess.

Mike, as far as I've ever read, lied about what he liked or didn't like. He found these explorations as satisfying as anything he'd ever done, and it shows in his singing and playing here. Frankly, the only thing I ever thought changed was that the volume knob was set lower. In all other respects, he was still one mean guitar player.

Approach these blues with the same open mind like he did, and you will find that the road from the Mississippi Delta to Chicago covered quite a lot of territory.

Al Handa

January 1996

(Rev. Aug. 6, 2026)

Classic Album Review: The Top Ten Albums That Influenced The Americana Movement: Part 1 - John Fahey

The Top Ten Albums That Influenced The Americana Movement: Part 1 - John Fahey

Americana, or Roots Music, covers a lot of genres and influences. It's expansive enough that my list of the most influential albums might not apply to some of the Americana playlists on Spotify and other streaming services. Also, like with punk rock or 60s psychedelic, once a new genre takes shape, more artists start to identify with the particular movement whether they’re actually authentic or not.

At my age, these Americana albums weren't just influences. I saw many of these artists who recorded those live and owned many or all of their albums. All were direct inspirations.

I'll define Americana for this list. It's American Primitive or music that has distinct cultural ties to this country. An artist who emulates Mozart or medieval music isn't an Americana artist (at least in my eyes). One whose inspiration is Muddy Waters, John Fahey, or Cajun, is.

So, here's part one of the list of albums that were influential to the Americana movement. We're really talking about the artist, but listing the albums gives you something specific to listen to if you are interested.

1. John Fahey: Blind Joe Death (Takoma)

The first time I saw John Fahey was in the early 70s at the Paul Masson winery in California, which had begun to stage concerts. The interesting thing was that Fahey didn't do a formal set. He just started playing and only occasionally stopped to introduce a number. Other than that, it was entirely improvised. 

I was familiar with country blues and folk as an avid record collector but had never heard someone blend all those genres into a single instrumental form. The music had clear influences, but even then, I couldn't imagine how anyone could copy it without sounding like him. I'd heard a lot of inspiring music before that concert, but Fahey was the one who inspired me to go out and buy a guitar immediately.

I have all of his music, but the first album, Blind Joe Death, is seminal. It originally came out as a self-released record in 1959 as a limited pressing of 100 discs. Fahey reissued the album in 1964 (which I owned at one time), with some of the cuts re-recorded, and again in 1967, this time was completely redone. The earlier version is rawer and had powerful energy, but the last version is what most people heard. The later reissues in 1996 on Fantasy/Takoma contain both the early and late 60s versions.

The album has one of his most well-known cuts, a cover of an old hymn, "In Christ There Is No East Or West," which was later covered by Leo Kottke on his "Greenhouse" album. One interesting thing about Fahey is that he covered a lot of old Hymns but wasn't personally religious (at least in the conventional sense). The other thing was his versions were always impressive, like with "Uncloudy Day," so he did draw some inner calm or inspiration from those hymns.

Other well-known cuts include his versions of "Poor Boy" and "John Henry' which had an expansive and mysterious mood, as opposed to being spacy. There was always a deep folk-blues feel to his music. Numbers like "The Transcendental Water Fall" and "Sligo River Blues" were takes on numbers that were always improvisational in concert. I saw him play twice, in the early 70s and the 90s, and heard parts of these numbers in his improvisations. Obviously, those were themes that he loved and continued to explore over time.

...more details...

I once conducted a one-hour interview in the 80s with one of his friends, Bill Barth, and learned more about Fahey's 60s work as a musician and musicologist and realized that only a book would do him justice. Unfortunately, the tape was lost before it could be transcribed, but the stories Barth told me are cherished memories.

One of my most prized possessions isn't a guitar or object. John Fahey once sent me an email explaining what guitar tuning he used on his "Fare Forward Voyagers" album, which is my favorite, and I've always ensured it's kept safely archived.

...coining a phrase...

John Fahey was the one who coined the "American Primitive Guitar" phrase, discovered Leo Kottke, Robbie Basho, Peter Lang, and George Winston for his Takoma Label, and was the original template for the American solo acoustic guitar player; from a man who never recorded a gold or platinum album, and who could have cared less.

On a personal level, he's the one who turned me into a guitar player. In my case, that's a Guitar God if there ever was one.

Al Handa

2024