Comments on: Mojo’s Cold Shot: Super Session Live at the Fillmore East

By: Peggy

Peggy — Wed, 26 Aug 2009 01:54:30 +0000

Yes, I agree. Mike Bloomfield was a direct disciple of those elder blues men. By the way, he didn't leave the Super Session recording to score 'horse'. Although he did have a heroin habit, Michael suffered terrible insomnia and hated being away from home. He left for that reason.

Visit www.mikebloomfield.com and www.mikebloomfieldamericanmusic.com for anything you want to know about Mike Bloomfield!

By: Peggy

Peggy — Tue, 25 Aug 2009 21:54:30 +0000

By: Peggy

Peggy — Tue, 25 Aug 2009 20:54:30 +0000

By: edmur

edmur — Thu, 06 Aug 2009 18:00:42 +0000

Here, here. Hear, here. Damn fine album, but definitely not a rock radio staple, even growing up in New England in the '70s, except, perhaps, “Season of the Witch,” and I'm pretty sure the original Donovan version was played on the radio a hell of a lot more than the Super Session version.

By: edmur

edmur — Thu, 06 Aug 2009 17:58:09 +0000

Not cranky at all, I just think you automatically give Clapton short shrift, and it bothers me that you can't recognise his absolute worth in the blues and blues-rock pantheon.

By: mojo

mojo — Thu, 06 Aug 2009 17:40:19 +0000

Remember, back then pretty much everyone equated Clapton to blues to the exclusion of others. Ed, apparently, still does (heh heh).

(thus the Clapton Debate continues to stalk us wherever we go, online and in person).

(as we like to say in this house, Ed, are you wearing your cranky pants today?)

By: mojo

mojo — Thu, 06 Aug 2009 17:36:59 +0000

I grew up in the midwest in the 1970s…it was not in the FM album rock radio canon…! It took me decades to hear *about* this record, let alone hear it.

By: outsidecounsel

outsidecounsel — Thu, 06 Aug 2009 17:24:02 +0000

Kooper's autobiography, “Backstage Passes” is well worth checking out– he's played with *everybody*, and he's an excellent raconteur. It would be worth reading just for the material on the Dylan sessions, but beyond that there is stuff about being a song plugger in the early 60's, playing with the Stones (that's Al's french horn on You Can't Always Get What You Want), and doing A&R and production work in the 70's.

I'm surprised to read that you consider “Super Session” an “underrated, somewhat obscure” side. It was a top 20 hit, a gold record, and a set that we all thought was a pretty essential guitar album back then. Looking back, at least on the east coast, it was the recording that cemented Stills' reputation as an instrumentalist– Buffalo Springfield was not as big a deal for us, but “Super Session” certainly was.

By: edmur

edmur — Thu, 06 Aug 2009 15:50:09 +0000

of course you take a shot at Clapton, thereby self-fulfilling your own self-title of blues dickhead