Bloomfield, Michael

Vinyl Records and Rare LPs:

	Analine New - LP - ST 72759 Sealed 1987 2nd Issue. more
	Analine 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, small shrink splits. more
	Live Adventures Used Import - MA 20784 1982 Heavy Vinyl Dutch Pressing Of The "Junko Partner" LP. This Is On The White Label Variant, Still In Shrink Wrap. Pristine Copy. Recorded At McCabe’s Guitar Shop, Santa Monica, CA; January 1, 1977. "Junko Partner Arrived With Little Fanfare A Couple Of Years After Mike Bloomfield's Too Early Death, Filled With Sublime Music But Little Information. The Akarma Reissue Remasters The Album For Cd, But Retains The Artwork, With The New Sleeve Notes Shedding Little Light On The Set. But This Much Is Obvious: Junko Partner Was Recorded Live, And Not Too Well, In Front Of A Small, Surprisingly Quiet, But Still Appreciative Crowd, With The Legendary Guitarist Accompanied By An Excellent Drummer And Standup Bassist, And A Pianist Whose Talent Rivals Bloomfield's Own. They Go Uncredited And Unacknowledged, As Does The Date And Location Of The Gig. Wherever And Whenever It Was, The Audience Was Treated To A Fabulous Show, As Bloomfield And His Band Leisurely Stroll Through Two Of His Own Compositions And Eight Blues, R&b, And Rock Chestnuts. Some Of The Pieces Were Seemingly Selected And Arranged To Showcase His Pianist -- Notably The Barreling R&b Take On "Wings Of An Angel," The Ragtime "Walking The Floor Over You," The Dose Of "Rx For The Blues," And The Swaggering Title Track. Bloomfield Steps Up To Share The Spotlight On The Fabulous "Don't You Lie To Me," A Stunner Of A Number That Fades Out Way Too Soon, With His Own Songs "Knockin' Myself Out" And "Women Lovin' Each Other" Equally Spectacular Showcases For His Skills -- Alongside A Breathtaking "Cherry Red," Brightly Painted With His Liquid Leads And Smoldering Solos, These Three Songs Are Worth The Price Of Entry Alone, Although A Lighthearted Take On The Traditional "You Must Have Seen Jesus" Is Also Of Note. Bloomfield Handles The Vocals Better Than One Would Expect And The Sound Quality Is The Best One Could Wring From These Old Analog Tapes, While The Laid-back Atmosphere Provides A Grand Opportunity For The Legend To Illustrate That Even In His Declining Years He Could Still Knock Your Socks Off. A Reminder, If Any Were Needed, Of Bloomfield's Ferocious Talent." AMG - Jo-Ann Green. more
	Living In The Fast Lane Used - LP - WATERHOUSE 11 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