|
I bought the original LP in 1968, still own it, and think it holds up well to the test of time. Heavy compression of about 6db (making it twice as loud for you non-techies) was applied to the final mix used for this "rematered" CD. BUT, this "24-bit remastered CD" sounds like somebody took sandpaper to the audio - All the dynamics and life of the original mix on the original LP are missing here. A quick extract of this CD and comparison to a 24-bit capture of the LP on my PC shows why. Yes it plays LOUD, but every single dynamic has been squashed - sax wails, guitar note bending, drum rims shots. Go find somone with a copy of the LP and rip a NOT-REMASTERED CD copy of the original mix, then, and only then, may you pass judgement on the "original" - Peace.
There's more than enough great playing here to make this disk well worth the price of purchase. Season of the Witch is totally re-imagined from the Donovan original. You Don't Love Me sounds really dated, in my opinion. His Holy Modal Majesty (what the hell did that mean). Alas, the version I had doesn't include the 4 bonus tracks. is a wonderful jam, it must have influenced Duane Allman who was just coming into his own around this same time. Albert's Shuffle & Stop get things off to a tremendous start. Still haven't decided what I think of it.
The Stills stuff is not quite as strong as the Bloomfield stuff. It Takes a Lot to Laugh., a Dylan cover, is pretty good. Man's Temptation & Harvey's Tune are not strong. I might have enjoyed hearing Albert's Shuffle & Train w/o the horns, which definitely feel like they were plunked down rudely on top of the rest of the mix.
"Stop" never fails to get me, no matter how many listens. Same thing with "Albert's Shuffle", w/ or w/o horns. All in all, a brilliant album.
You can tell they were having a really great time. It is a fresh song, with tons of replay value. It's as if all of the players were discovering their amazing powers at music for the first time, all at once. The instrumentation is nothing new, but the musicians play with this flare that is unique to this album. Seems like a lot of the people who bought this album bought it mostly because of Mike Bloomfield's half of it. Bonus tracks are definitely worth checking out as well. I don't think they could have done a better job on this song, no matter what. The layed back, feelin cool, not a care in the world groove of "It Takes a Lot to Laugh, It Takes a Train to Cry" is just ridiculously original.
Season of the Witch is another fantastic cover that Stephen and the band took home. Stephen Stills side is the less appreciated side of the album (though still appreciated). And let me tell you, this is a great half. It's like listening to Rock N Roll for the first time again. It shows through in the music. I'm just going to say that I am extremely glad that they decided to call in Stills to finish this album off, because I have fallen in love with his half. It's a lengthy song, with great singing and jamming. The whole album is wonderful, and I'd be surprised if it were to let you down in your expectations.
I grew up with this recording, as well as all the other original Bloomfield works (PBBB, Electric Flag). Bloomfield had a troubled and short life, but he managed to get some masterpieces down on tape before he shuffled off this mortal coil: the early Butterfield records, Electric Flag, and these sessions. These tracks show his best side, beyond doubt. I enjoy listening to it now as much as I did then, and it's been forty years, almost exactly. Listening to these tracks, you can see why. I still have a vinyl copy of it I bought new in 1968 or 1969.One of the reviewers above pointed out that the purpose of these reviews is to get people to listen to and appreciate this music who might not otherwise do so. It's still a wonderful album, warts and all. No one else sounds like Bloomfield; for better or worse, he was his own man.
How true. I hope that occurs. It's worth noting that Robben Ford, an extraordinary contemporary blues and jazz guitar master, cites Bloomfield as an early influence and one of the reasons he switched from playing reeds to guitar. And after all these years, these tracks still have their poignancy and ringing sad sweetness.
|
