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 	It's Not Killing Me 	3:01
6 	Next Time You See Me	2:55
7 	Michael's Lament 	4:21
8 	Why Must My Baby 	2:37
9 	The Ones I Loved Are Gone 	3:05
10 	Don't Think About It Baby 	3:19
11 	Goofers 	1:48

Accordion – Richard Santi
Acoustic Guitar, Electric Guitar, Vocals, Piano – Michael Bloomfield
Baritone Saxophone – Mark Teel
Bass – John Kahn
Drums, Vocals – Bob Jones 
Electric Guitar [Rhythm], Acoustic Guitar – Fred Olsen
Guitar, Mandolin, Vocals – Michael Melford
Organ – Roy Ruby
Organ, Piano – Mark Naftalin
Organ, Piano, Banjo – Ira Kamin
Soprano Saxophone – Noel Jewkis
Steel Guitar – Orville (Red) Rhodes
Tenor Saxophone – Gerald Oshita, Ron Stallings
Trumpet – John Wilmeth, Marcus Doubleday
Vocals – The Ace Of Cups, Diane Tribuno, Nick Gravenites 

It's a shame that Michael Bloomfield's recorded legacy is so spotty. Generally speaking, the blues guitarist's finest moments are found on the universally praised first two discs with Paul Butterfield, the Electric Flag's A Long Time Comin' album, and the sporadic glimpses of greatness on his solo records. Unfortunately, there aren't many of those on It's Not Killing Me, Bloomfield's first solo LP released under his name in 1969. The main problem with this album is its lack of a powerful vocalist who could equally tackle blues, soul, and country. Singing was not one of the legendary guitarist's strengths, and he definitely wasn't capable of carrying that load over an entire record. Instead of focusing on Bloomfield's guitar prowess and letting him arrange the American music he obviously loved so deeply, you get the impression someone at Columbia, or maybe even Bloomfield himself, wanted to turn him into a hip frontman à la Eric Clapton. It's especially odd considering the presence of blues belter Nick Gravenites singing backup on this session, not to mention additional vocals by the Ace of Cups and Diane Tribuno. It makes about as much sense as Led Zeppelin having Jimmy Page sing lead while Robert Plant played tambourine! It's Not Killing Me is recommended for completists only. ---Al Campbell, AllMusic Review

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01. Introductions 
02. One Way Out 
03. Mike Bloomfield's Introduction of Johnny Winter 
04. It's My Own Fault 
05. 59th Street Bridge Song (Feelin' Groovy) 
06. (Please) Tell Me Partner 
07. That's All Right Mama 
08. Together Till the End of Time 
09. Don't Throw Your Love on Me So Strong 
10. Season of the Witch

Musicians:
Michael Bloomfield (vocala, guitar)
Al Kooper (vocal, piano, organ)
Johnny Winter (vocala, guitar)
Paul Harris (piano)
Johnny Cresci (drums)

At first glance, you might mistake this for unused material from the same late-1968 concerts that supplied the material for The Live Adventures of Mike Bloomfield & Al Kooper. But no, this was recorded about two and a half months later at a different venue, and with a different backup band (Paul Harris on piano, Jerry Jemmott on bass, and John Cresci on drums). There's still some similarity to the repertoire, though, and a good deal of similarity to the music, which is blues-rock with a late-'60s improvisational heaviness. And to be honest, it hasn't dated well, the undisputed instrumental talents of Bloomfield and Kooper notwithstanding. Why? Well, little original material was offered, the only song falling into that category being Bloomfield's "(Please) Tell Me Partner," a routine and (at ten minutes) overlong blues. The soul-pop cover "Together Till the End of Time" comes off the best, in part because of its relative economy at four and a half minutes in length, and the cover of Sonny Boy Williamson's "One Way Out" isn't bad. But the band isn't too tight (particularly the rhythm section), the lead vocals aren't strong, and the interpretations (including a nine-minute "Season of the Witch," which Kooper and Stephen Stills had done on the popular Bloomfield-Kooper-Stills Super Session album) are too long and not terribly imaginative. This disc does preserve a historic moment of sorts, when Bloomfield introduces then-unknown guest guitarist Johnny Winter, who takes some of the guitar duties on "It's My Own Fault." This was the appearance that, according to Kooper's liner notes, alerted Columbia to Winter, after which the label quickly offered him a contract. --- Richie Unterberger, Rovi

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CD 1: 
01. Opening Speech
02. The 59th Street Bridge Song (Feelin' Groovy) 
03. I Wonder who 
04. Her Holy Modal Highness 
05. The Weight 
06. Mary Ann 
07. Together 'til the End of Time 
08. That's All Right 
09. Green Onions

CD 2: 
01. Opening Speech 
02. Sonny Boy Williamson 
03. No more Lonely Nights 
04. Dear Mr. Fantasy 
05. Don't Throw your Love on Me so Strong 
06. Finale-Refugee

Musicians:
Mike Bloomfield (guitar)
Al Kooper (organ, piano)
John Kahn (bass)
Skip Prokop (deums)
Carlos Santana (guitar)
Elvin Bishop (guitar)

Recorded over three nights in 1968 at the Fillmore Auditorium in San Francisco, the follow-up to the acclaimed Super Session has its moments, but is mostly long on '60s noodly grooviness and lacking in focus and inspiration. It's notable (sort of) for Bloomfield's singing debut. --- Cary Wolfson, Rovi

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01. I've Got You In The Palm Of My Hand 
02. Last Night 
03. Feel So Good 
04. Goin Down Slow 
05. I Got My Mojo Working 
06. Born In Chicago 
07. Work Song 
08. Killing Floor 
09. Alberts Shuffle 
10. Stop 
11. Mary Ann 
12. Dont Throw Your Love On Me So Strong 
13. Dont Think About It Baby 
14. It Takes Time 
15. Carmelita Skiffle

Musicians:
Michael Bloomfield – guitar, vocals
Michael Johnson – guitar
Michael Melford – guitar
Fred Olsen – guitar
Orville Rhodes – guitar (steel)
Paul Butterfield – harmonica, vocals
Charlie Musselwhite - harmonica
Michael Fonfara – keyboards
Brian Friedman – piano
Barry Thomas Goldberg – keyboards, piano (electric)
Ira Kamin – organ, piano
Al Kooper – organ, piano
Mark Naftalin – organ, piano
Ron Ruby – organ
Richard Santi – accordion
Jerome Arnold – bass
Harvey Brooks – bass
John Kahn – bass
Sid Warner – bass
Billy Davenport – drums
Fast Eddie Hoh – drums
Bob Jones – drums
Norman Mayell – drums
Skip Prokop – drums
Dino Andino – congas
Nick Gravenites – percussion, vocals
Marcus Doubleday - trumpet
John Wilmeth – trumpet
Gerald Oshita – sax (baritone, tenor)
Herbie Rich – piano, sax (tenor)
Rev. Ron Stallings – sax (tenor)
Peter Strazza – sax (tenor)
Mark Teel – sax (baritone)
Ace of Cups – vocals
Diane Tribuno - vocals

Fifteen tracks covering the pioneering blues-rock guitarist's '60s work, which was by far his best and most influential. Bloomfield worked with a bunch of bands during the decade, and the compilation flits rather hurriedly from his contributions to The Paul Butterfield Blues Band and Electric Flag, to his collaborations with Al Kooper, and some of his late-'60s solo tracks (none of his groundbreaking mid-'60s work with Dylan is here). Collectors will be interested in the first five songs, which date from previously unreleased sessions produced by John Hammond in late 1964 and early 1965. Featuring Charlie Musselwhite on harmonica, this pre-Butterfield Blues Band outfit plays convincingly, but the material is standard-issue, and Bloomfield's vocals are thin and weak (they didn't improve much over time). As befits Bloomfield's considerable but erratic talent, this is an interesting but erratic compilation; seek out the first two Paul Butterfield albums for a more cohesive showcase of his skills. ---Richie Unterberger, Rovi

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01. I Got My Mojo Working 
02. I Feel So Good 
03. Goin’ Down Slow 
04. I’ve Got You In The Palm Of My Hand 
05. The First Year I Was Married 
06. I’m Cutting Out 
07. Lonesome Blues 
08. I Got My Mojo Working 
09. Last Night 
10. I Feel So Good

Musicians:
Michael Bloomfield (guitar and vocals); 
Charlie Musselwhite (harmonica); 
Mike Johnson (guitar); 
Sid Warner (bass); 
Norman Mayell (drums); 
Brian Friedman (piano).

In late 1964 and early 1965, around or just prior to the time he joined the Paul Butterfield Blues Band, Mike Bloomfield cut some unreleased solo sides for Columbia. Mostly produced by John Hammond, these featured backing by an electric band that included Charlie Musselwhite on harmonica. Five of those songs came out on the 1994 Bloomfield CD compilation Don't Say That I Ain't Your Man!. This LP has all five of those tracks, plus five additional ones that didn't make it onto the 1994 CD. For that reason alone, this is essential for Bloomfield fans, even if you already have that previous disc. At this point, Bloomfield was rawer and less imaginative than the guitarist he would develop into with Butterfield and as a Bob Dylan accompanist, and he was never much of a singer. Nonetheless, there's a good brash early blues-rock energy to these sides, which mix straightforward covers of Chicago blues giants like Little Walter and Muddy Waters with a few Bloomfield originals. The good news is that the previously unissued cuts (including alternate versions of "I Got My Mojo Working" and "I Feel So Good") are not disreputable leftovers, but up to the same level of the ones that showed up on Don't Say That I Ain't Your Man!. Certainly one of the new finds, "I'm Cutting Out," is the best of the three Bloomfield originals on the collection, as a nice, bouncy no-nonsense blues tune with a superb stinging guitar solo and a raunchier vocal than was Bloomfield's wont. The alternate version of "I Got My Mojo Working" is less frenetic than the one on Don't Say That I Ain't Your Man!, and for that reason a bit better. Liner notes with an appreciation by Al Kooper and a 1966 Bloomfield interview add to the desirability of this vinyl-only release. --- Richie Unterberger, Rovi

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1 Guitar King (Traditional)
2 Knockin' Myself Out (Lillian "Lil" Green)
3 My Children, My Children
4 Women Lovin' Each Other (Michael Bloomfield)
5 Sloppy Drunk (Traditional)
6 You Took My Money (Traditional)
7 See That My Grave Is Kept Clean (A.P. Carter / Mother Maybelle Carter / Sara Carter)
8 The Gospel Truth (Norman Dayron)

Musicians:
Michael Bloomfield - Composer, Guitar, Keyboards, Primary Artist, Vocals
Bob Jones - Drums, Vocals
Ira Kamin - Keyboards
Craig Kilby - Trombone
Doug Kilmer - Bass
David Shorey - Bass, Vocals

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. (Pianist Ira Kamin and bassist Doug Kilmer make crucial contributions on the latter two songs.) 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. The funky "My Children, My Children" gives matters a more contemporary sheen, as does "The Gospel Truth," an instrumental by producer Norman Dayron where Bloomfield's guitar gets plenty of flying time. Having long abandoned the major-label rat race, independent labels became Bloomfield's major professional outlet, ensuring that his work remained relatively low profile (like the man himself). 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, Rovi

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1 If you love these blues Start
2 Hey, foreman Start
3 Narrative #1 / Wdia Start
4 Narrative #2 / Death Cell Rounder Blues Start
5 Narrative #3 / City girl Start
6 Narrative #4 / Kansas City Blues Start
7 Narrative #5 / Mama lion Start
8 Narrative #6 / Thrift shop rag Start
9 Narrative #7 / Death in my family Start
10 East Colorado Blues Start
11 Blue Ghost Blues Start
12 Narrative #8 / The train is gone Start
13 Narrative #9 / The altar songs Start
14 I'll overcome Start
15 I must see Jesus Start
16 Great dreams from heaven Start
17 Gonna need somebody on my bond Start
18 I am a pilgrim Start
19 Just a closer walk with thee Start
20 Have thine own way Start
21 Farther along Start
22 Peace in the valley

Personnel: 
Michael Bloomfield, acoustic and electric guitar, banjo, piano, organ, bass, vocals; 
Ron Stallings, tenor saxophone; 
Hart McNee, baritone saxophone; 
Ira Kamin, organ; 
Eric Kriss, piano; 
Nick Gravenitis, guitar, vocal; 
Roger Troy, Doug Kilmer, bass; 
Dave Neditch, Tom Donlinger, drums; 
Woody Harris, acoustic guitar.

If You Love These Blues, Play 'Em As You Please was an unusual project for Michael Bloomfield. Although recorded as a blues guitar instructional album for Guitar Player magazine, it ended up being acclaimed as one of his finest solo recordings, of interest to both guitar players and the general listening public. Bloomfield had been in commercial and artistic decline for years prior to cutting this disc, and there's the sense that he welcomed the chance to get back to what he knew and loved the best, selecting and laying down material without having to worry about how well it would sell. That relaxed quality comes through on the performances, in which he goes through a wide assortment of electric and acoustic guitar styles, the songs specifically designed to illustrate guitar sounds associated with heroes like B.B. King, Jimmie Rodgers, the Carter Family, T-Bone Walker, Blind Blake, Guitar Slim, Lonnie Johnson, and others. The cuts with band backing are no-frills, straight-ahead affairs that avoid over-production, interrupted by a few showcases for Bloomfield's considerable and underrated abilities as an acoustic guitarist. His singing, as always, was merely serviceable, but suitably respectful of the material and the styles to which he was paying homage. Sprinkled throughout the program are brief, unobtrusive spoken introductions from Bloomfield himself succinctly explaining the songs, what they're examples of, and how they're being played. Long after it was made, it's still useful as a primer for aspiring blues guitarists, but also reasonably satisfying as a blues record on its own terms. The 2004 CD reissue on Kicking Mule adds a lot of value by tacking on the entirety of his 1979 album Bloomfield/Harris, a joint effort by Bloomfield and acoustic guitarist Woody Harris that's a nice, if peripheral, wholly instrumental excursion into gospel-oriented folk-blues. --- Richie Unterberger, Rovi

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01. Peepin’ An A Moanin’ Blues
02. Mr Johnson And Mr Dunn
03. Frankie And Johnny
04. At The Cross
05. Big C Blues
06. Hilo Waltz
07. Effinonna Rag
08. Mood Indigo
09. Analine

Musicians:
Michael Bloomfield - Composer, Guitar, Keyboards, Primary Artist, Vocals
Nick Gravenites - Composer, Vocals
Bob Jones - Drums, Vocals
Anna Rizzo - Vocals
Marcia Ann Taylor - Vocals
Roger Troy - Bass

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, Rovi

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1.Cha-Dooky-Doo 		
2.Last Night 		
3.I Yi Yi 		
4.Just To Be With You 		
5.Baby Let Me Kiss You 		
6.Sho Bout To Drive Me Wild 		
7.It Hurts Me Too 		
8.Rock Me Baby 		
9.Ground Hog Blues 		
10.Pretty Thing

Artists:
Michael Bloomfield 	Guitar, Keyboards, Performer, Primary Artist, Vocals
George Bohannon 	Trombone
John Boudreaux 	Percussion
John Bourdreaux 	Percussion
Dr. John 	Banjo, Composer, Guest Artist, Guitar, Keyboards, Organ, Percussion, Performer, Piano, Primary Artist, Vocals
Chris Ethridge 	Bass
James Beck Gordon 	Sax (Baritone)
Jim Gordon 	Horn, Sax (Baritone)
John F. Hammond 	Guitar, Harmonica, Vocals
John Hammond, Jr. 	Guitar, Harmonica, Performer, Primary Artist, Vocals
Jerry Jumonville 	Sax (Alto), Sax (Soprano), Sax (Tenor), Saxophone
Thomas Jefferson Kaye 	Guitar, Producer, Vocals, Vocals (Background)
Blue Mitchell 	Horn, Trumpet
Robbie Montgomery 	Vocals, Vocals (Background)
Benny Parks 	Percussion
Lorraine Rebennack 	Bass, Vocals (Background)
Jessica Smith 	Vocals, Vocals (Background)
Jessie Smith 	Vocals (Background)
Fred Staehle 	Drums

In 1973 someone at Columbia evidently decided to try and recoup some of the investment the label had made in Bloomfield and John Hammond -- they were thrown into a recording studio along with Dr. John, who had recently scored a hit with "Right Place, Wrong Time." It probably sounded like a good idea at the time, but the results were uninspired. Pass by this CD and pick up any one of their solo recordings instead. ---Jan Mark Wolkin, Rovi

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Site one
1. "Albert's Shuffle" (Bloomfield, Kooper) – 6:54
2. "Stop" (Ragovoy, Shuman) – 4:23
3. "Man's Temptation" (Mayfield) – 3:24
4. "His Holy Modal Majesty" (Bloomfield, Kooper) – 9:16
5. "Really" (Bloomfield, Kooper) – 5:30
Site two
1. "It Takes a Lot to Laugh, It Takes a Train to Cry" (Dylan) – 3:30
2. "Season of the Witch" (Donovan) – 11:07
3. "You Don't Love Me" (Cobbs) – 4:11
4. "Harvey's Tune" (Brooks) – 2:07

Personnel
    Al Kooper — vocals, piano, organ, ondioline, electric guitar, twelve-string guitar
    Mike Bloomfield — guitars on side one, 
    Stephen Stills — guitars on side two, 
    Barry Goldberg — electric piano on "Albert's Shuffle" and "Stop"
    Harvey Brooks — bass
    Eddie Hoh — drums, percussion

As the Beatles' Sgt. Pepper's Lonely Hearts Club Band (1967) had done a year earlier, Super Session (1968) initially ushered in several new phases in rock & roll's concurrent transformation. In the space of mere months, the soundscape of rock shifted radically from two- and three-minute danceable pop songs to comparatively longer works with more attention to technical and musical subtleties. Enter the unlikely all-star triumvirate of Al Kooper (piano/organ/ondioline/vocals/guitars), Mike Bloomfield (guitar), and Stephen Stills (guitar) -- all of whom were concurrently "on hiatus" from their most recent engagements. Kooper had just split after masterminding the definitive and groundbreaking Child Is Father of the Man (1968) version of Blood, Sweat & Tears. Bloomfield was fresh from a brief stint with the likewise brass-driven Electric Flag, while Stills was late of Buffalo Springfield and still a few weeks away from a more or less full-time commitment to David Crosby and Graham Nash. Although the trio never actually performed together, the long-player was notable for idiosyncratically featuring one side led by the team of Kooper/Bloomfield and the other by Kooper/Stills. The band is ably fleshed out with the powerful rhythm section of Harvey Brooks (bass) and Eddie Hoh (drums) as well as Barry Goldberg (electric piano) on "Albert's Shuffle" and "Stop." The heavy Chicago blues contingency of Bloomfield, Brooks, and Goldberg provide a perfect outlet for the three Kooper/Bloomfield originals -- the first of which commences the project with the languid and groovy "Albert's Shuffle." The guitarist's thin tone cascades with empathetic fluidity over the propelling rhythms. Kooper's frisky organ solo alternately bops and scats along as he nudges the melody forward. The same can be said of the funky interpretation of "Stop," which had originally been a minor R&B hit for Howard Tate. Curtis Mayfield's "Man's Temptation" is given a brass-fuelled soulful reading that might have worked equally well as a Blood, Sweat & Tears cover. At over nine minutes in spin time, "His Holy Modal Majesty" is a fun trippy waltz and includes one of the most extended jams on the Kooper/Bloomfield side. The track also features the distinct hurdy-gurdy and Eastern-influenced sound of Kooper's small electric keyboard-manipulated ondioline, which has a slightly atonal and reedy timbre much like that of John Coltrane's tenor sax. Because of some physical health issues, Bloomfield was unable to complete the recording sessions and Kooper contacted Stills. Immediately his decidedly West Coast sound -- which alternated from a chiming Rickenbacker intonation to a faux pedal steel -- can be heard on the upbeat version of Bob Dylan's "It Takes a Lot to Laugh, It Takes a Train to Cry." One of the album's highlights is the churning and scintillating cover of "Season of the Witch." There is an undeniable synergy between Kooper and Stills, whose energies seems to aurally drive the other into providing some inspired interaction. Updating the blues standard "You Don't Love Me" allows Stills to sport some heavily amplified and distorted licks, which come off sounding like Jimi Hendrix. This is one of those albums that seems to get better with age and that gets the full reissue treatment every time a new audio format comes out. This is a super session indeed. --- Lindsay Planer, Rovi

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