John Mayall With Eric Clapton - Blues Breakers (1966) US Sterling Pressing - LP/FLAC In 24bit/96kHz
John Mayall With Eric Clapton - Blues Breakers
Vinyl | LP Cover (1:1) | FLAC + cue | 24bit/96kHz & 16bit/44kHz/900mb & 200mb
Label: London Records/LC 50009 | Released: 1966 | This Issue: 197? | Genre: Blues-Rock
A1 All Your Love 3:33
A2 Hideaway 3:15
A3 Little Girl 2:35
A4 Another Man 1:45
A5 Double Crossing Time 3:02
A6 What’d I Say 4:25
-
B1 Key To Love 2:06
B2 Parchman Farm 2:20
B3 Have You Heard 5:55
B4 Ramblin’ On My Mind 3:07
B5 Steppin’ Out 2:30
B6 It Ain’t Right 2:40
Recorded At – Decca Studios
Credits
Baritone Saxophone – John Almond* (tracks: A5, B1, B3, B5)
Bass Guitar – John McVie
Drums – Hughie Flint (tracks: A1 to A3, A6, B6)
Engineer – Gus Dudgeon
Guitar – Eric Clapton
Layout – John Mayall
Liner Notes – Neil Slaven
Piano, Organ, Harmonica, Vocals – John Mayall
Producer – Mike Vernon
Tenor Saxophone – Alan Skidmore (tracks: B1, B3, B5)
Trumpet – Dennis Healey (tracks: B1, B3, B5)
Written-By – Mayall* (tracks: A3, A5, B1, B3)
Notes
London Stereophonic label
Barcode and Other Identifiers
Matrix / Runout (Both sides runout stamped): STERLING
Vinyl | LP Cover (1:1) | FLAC + cue | 24bit/96kHz & 16bit/44kHz/900mb & 200mb
Label: London Records/LC 50009 | Released: 1966 | This Issue: 197? | Genre: Blues-Rock
A1 All Your Love 3:33
A2 Hideaway 3:15
A3 Little Girl 2:35
A4 Another Man 1:45
A5 Double Crossing Time 3:02
A6 What’d I Say 4:25
-
B1 Key To Love 2:06
B2 Parchman Farm 2:20
B3 Have You Heard 5:55
B4 Ramblin’ On My Mind 3:07
B5 Steppin’ Out 2:30
B6 It Ain’t Right 2:40
Recorded At – Decca Studios
Credits
Baritone Saxophone – John Almond* (tracks: A5, B1, B3, B5)
Bass Guitar – John McVie
Drums – Hughie Flint (tracks: A1 to A3, A6, B6)
Engineer – Gus Dudgeon
Guitar – Eric Clapton
Layout – John Mayall
Liner Notes – Neil Slaven
Piano, Organ, Harmonica, Vocals – John Mayall
Producer – Mike Vernon
Tenor Saxophone – Alan Skidmore (tracks: B1, B3, B5)
Trumpet – Dennis Healey (tracks: B1, B3, B5)
Written-By – Mayall* (tracks: A3, A5, B1, B3)
Notes
London Stereophonic label
Barcode and Other Identifiers
Matrix / Runout (Both sides runout stamped): STERLING
John Mayall With Eric Clapton - Blues Breakers (1966) US Sterling Pressing - LP/FLAC In 24bit/96kHz
John Mayall With Eric Clapton - Blues Breakers (1966) US Sterling Pressing - LP/FLAC In 24bit/96kHz
John Mayall With Eric Clapton - Blues Breakers (1966) US Sterling Pressing - LP/FLAC In 24bit/96kHz
This Rip: 2017
Cleaning: RCM Moth MkII Pro Vinyl
Direct Drive Turntable: Technics SL-1200MK2 Quartz
Cartridge: SHURE M97xE With JICO SAS Stylus
Amplifier: Marantz 2252
ADC: E-MU 0404
DeClick with iZotope RX5: Only Manual (Click per click)
Vinyl Condition: NM-
This LP: From personal collection
LP Rip & Full Scan LP Cover: Fran Solo
Password: WITHOUT PASSWORD
Tired of a creeping tendency towards pop territory that was happening in his old band, the Yardbirds, Eric Clapton was after one thing alone: the blues. With John Mayall and his pool of fledgling giants he got it in spades. While Clapton’s roots lay in the sweaty R’n’ B of west London’s hip clubs he’d grown sick of what he saw as wrong-headed chasing after fame and fortune (and an unhealthy adherence to Chuck Berry’s template). As only a young man can do, he became a purist of the sternest kind, and in Mayall he found a man who felt the same. With less of a jazz background than the other father-figure to the British blues boom, Alexis Korner, Mayall was an alchemist of the highest order.
These men didn’t just distil the blues. They turned it into something new. Blues rock was to rule the ‘underground’ for years following this single blast of truly electric 12 bar music. One element was to be the most important: Clapton’s pairing of a vintage Gibson Les Paul with an overdriven Marshall amplifier. Within literally weeks guitarists all over the country were doing the same. It was that revolutionary.
The album really pays tribute to Buddy Guy and Freddie King, Clapton’s heroes to this day. It’s the edgier end of Chicago that drives each riff with the rhythm section of John McVie and Hughie Flint locked in tight. Eric’s pyrotechnics on “Steppin’ Out” still dazzle. While Mayall’s vocals are drenched in reverence for the material his essentially thin voice hasn’t worn quite so well. However on “Parchman Farm” his rasp is gutsy as hell.
It was a brief tenure for EC. Just as soon as he’d upset the apple cart, he was off to add a dash of jazz and psychedelia to his palette with the mighty Cream. Mayall continued for years to give a home to future stars (bassist, John McVie of course was to find fame with Clapton’s successor – Peter Green). But to this day, from the first rip into to the final chord of the ‘Beano Album’, as it came to be known, remains just about the defining argument as to why Clapton really was once, God.Review by Chris Jones (2007), bbc.co.uk
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