MIKE BLOOMFIELD "Hully Gully" 10 Tracks CD Cosmus DSB


  Sie bieten hier auf eine limitierte Neu und Originalverpackte CD mit super Musik von und mit Mike Bloomfield.

Mit vielen bekannten Stücken in super Qualität und original eingespielt. In dieser Zusammenstellung sehr selten zu finden . Ich könnte mir diese CD immer wieder anhören.
Ein schönes Geschenk oder auch für gemütliche Abende....
Mit dieser CD klappt es auch mit dem Nachbarn ;-)

Unbezahlbar wenn Sie diese wunderschönen Stücke als LPs kaufen würden.

ACHTUNG ! Limitierte Biographic Edition aus der Serie "Golden Nugget" mit hochwertigem Cover gestaltet vom Designer Jürgen Schöller ! Incl. deutschsprachiger Biographie ! Bei Ebay nicht mehr zu bekommen und in Sammlerkreisen sehr begehrt ! CD in Schwarz / Gold, sehr Edel ( auch die bespielte Seite in Gold ).

Ich biete noch weitere CD's aus dieser Reihe an! Bei Interesse schauen Sie doch einfach in meinem Shop nach!

- Hully Gully -
(mit Spieldauerangabe)

1. Hully Gully 4,01   (Hörprobe / hear sample)
2. Wings Of An Angel 3,55
3. Walkin' The Floor 4,23
4. Don't You Lie To Me 4,09  
5. Junko Partner 4,44
6. Knockin' Myself Out 5,55
7. Women Lovin' Each Over 4,42
8. Cherry Red 3,45
9. RX For The Blues 2,20
10. You Must Have Jesus 5,36


Michael Bernard Bloomfield (July 28, 1943 - February 15, 1981) was an American musician, guitarist, and composer, born in Chicago, Illinois, into a well-off Jewish family on Chicago's North Side. The Bloomfield family fortune had been built from his father's invention, the sugar dispenser ("shaker") with a flapper lid, which the family also manufactured and distributed, along with salt & pepper shakers, and the classic revolving pie display, developed by his uncle. It is documented that Bloomfield turned his back on the fortune he could inherit and turned his focus to music, in particular the blues.

The Electric Flag
Tired of the Butterfield Band's rigorous touring schedule and wishing to create his own group, Bloomfield left to form the short-lived Electric Flag in 1967 with two longtime Chicago cohorts, organist Barry Goldberg and vocalist Nick Gravenites. The band was intended to feature "American music" and incorporated an expanded lineup complete with a horn section, allowing the group to add soul music to its extensive list of influences. The inclusion of drummer Buddy Miles, with his gravelly voice and great stage presence, also gave Bloomfield license to explore soul and R&B rather than adhere to his Chicago blues roots. The Electric Flag debuted at the 1967 Monterey Pop Festival and issued an album, A Long Time Comin', in April 1968 on Columbia Records. Critics complimented the group's distinctive, intriguing sound but found the record itself somewhat uneven. Unfortunately, the band was already disintegrating; rivalries between members and shortsighted management (not to mention heroin abuse) all took their toll. Shortly after the release of that album, Bloomfield left his own band.

Work with Al Kooper
Michael Bloomfield also made an impact through his work with Al Kooper, with whom he had played backing Dylan, on the album Super Session in 1968. This was a jam-oriented record that spotlighted Bloomfield's guitar skills on one side and those of Stephen Stills on the other; the album received excellent reviews and became the best-selling album of Bloomfield's career; its success led to a live sequel, The Live Adventures of Mike Bloomfield and Al Kooper, recorded over three nights at Fillmore West in September 1968.

Solo Work
Bloomfield continued with solo, session and back-up work from 1969 to 1980, releasing his first solo work It's Not Killing Me in 1970. During the late 1970s, Bloomfield recorded for several smaller labels, including Takoma. Through Guitar Player magazine he also put out an instructional album with a vast array of blues guitar styles, titled If You Love These Blues, Play 'Em as You Please. Bloomfield also performed with John Cale on Cale's soundtrack to the film Caged Heat in 1975. Through the 1970s, Bloomfield seemed satisfied to play in local San Francisco Bay Area clubs, either sitting in with other bands or using his own "Michael Bloomfield and Friends" outfit. But his best performing days were behind him and most of the decade was spent battling drugs and his own deep insecurities. A revealing look at his decline can be heard in the tapes circulated for Chet Helms' (of The Family Dog) Tribal Stomp held at Berkeley's Greek Theatre in 1978. The original Butterfield Blues Band reunited for this show and Bloomfield was featured in several solos. However, his guitar is out of tune at times and he simply misses licks he could have hit in his earlier days. For comparison, seek out concert recording from the Fillmore West with the Electric Flag, when he was in his prime. Bloomfield also was apparently suffering from arthritis in his hands in his last few years and that may have been a telling factor in both the decline of his playing and his mental attitude towards performing.

On February 15, 1981 Bloomfield was found dead in San Francisco in his parked car. According to his friends, the size of the heroin dose that killed him meant that he probably did not drive to this spot and overdose, rather that the lethal dose had been administered somewhere else and he had been driven to this spot to avoid complications for his drug-ingesting cohorts. The official cause of death was ruled an accidental drug overdose.

Bloomfield used Fender guitars but is most commonly associated with the Gibson Les Paul which he used with Electric Flag and on Super Session. His instrument of choice before and after this time was the Fender Telecaster. His use of the Les Paul influenced many others to use it in much the same way, using the front pickup and making judicious use of the guitar's inherent long sustain. Unlike contemporaries such as Jimi Hendrix and Jeff Beck, Bloomfield rarely experimented with feedback and distortion, preferring a loud but clean sound with a healthy amount of reverb. One of his amplifiers of choice was a 1965 Fender Twin Reverb. Bloomfield's solos, like most blues guitarists', were based primarily on the minor pentatonic scale and the blues scale. However, his liberal use of chromatic notes within the pentatonic framework allowed a considerable degree of fluidity to his solos. He was also renowned for his use of vibrato.

International Ebayer?s welcome.



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