Methexis: Suiciety 2015

 

Founded in Athens, Greece in 2011. Greek project METHEXIS (ΜΕΘΕΞΙΣ in Greek) is the creative vehicle of Nikitas Kissonas (ex-VERBAL DELIRIUM, ex-YIANNEIS). Methexis means the communication between the sensible world and the world of ideas, the mental encounter.
                                                                    

[τὰ μὲν εἴδη ταῦτα ὥσπερ παραδείγματα ἑστάναι ἐν τῇ φύσει, τὰ δὲ ἄλλα τούτοις ἐοικέναι καὶ εἶναι ὁμοιώματα, καὶ ἡ "ΜΕΘΕΞΙΣ" αὕτη τοῖς ἄλλοις γίγνεσθαι τῶν εἰδῶν οὐκ ἄλλη τις ἢ εἰκασθῆναι αὐτοῖς.  : οι μεν ιδέες υπάρχουν στη φύση σαν πλαίσια, τα δε άλλα μοιάζουν προς αυτές και είναι σαν

ομοιώματά τους, και η μέθεξή τους με τις άλλες ιδέες έγκειται στην αφομοίωσή τους μέσα σε αυτές και τίποτα άλλο (Πλάτων, Παρμενίδης, 132) "The ideas exist in nature as frames, the others look like them and are like their dummies, and their intermingling with the other ideas lies in their assimilation into them and nothing else". PLATO. (Plato was a Greek philosopher born in Athens during the Classical period in Ancient Greece. He founded the Platonist school of thought ...)]
                                                             

And it was following the release of VERBAL DELIRIUM's debut album that Kissonas hit the studio, to

record music he had been working on for many years himself. With the aid of drummer Nikos Miras, and invaluable assistance by sound engineer Leonidas Petropolous, an album's worth of material unfolded, and was finalized as the CD "The Fall of Bliss" in 2011. An album aspiring to acknowledge the heritage of 1970's progressive rock whilst incorporating elements from music of a more contemporary origin, placed within a conceptual framework.
                                             

Following the release of this initial production, preparations for a second Methexis CD have begun.

This time also involving additional musicians applying their skills to the proceedings. In February 2015 METHEXIS release their second album "Suiciety", which is a concept album about the exterior influences a human gets from his childhood, the interior research for a guiding instrument, the exposition on a suicidal society that doesn't listen to the clear warnings and the unavoidable collapse.
                                                   

Nikitas teams with members of THE ENID, ÄNGLAGÅRD, BIRDS & BUILDINGS, AGENTS OF MERCY and YIANNEIS to deliver this second album, including, among others, Joe PAYNE (Vocals), Linus KÅSE (Keyboards), Nikos ZADES (Sound Design), Walle WAHLGREN (Drums), and

Brett D'ANON (Bass). For a new direction in 2016 Nikitas Kissonas joined forces with Mampre KASARDJIAN (bass), Haris BOTSIS (keyboards) and Theodore CHRISTODOULOU (drums) turning Methexis into a four piece formation, but already one year later Methexis went down to a power trio, performing all around Greece. In 2018 Methexis released its third album entitled "Topos", it is instrumental CD, and for the first time also available on vinyl.
                                                      

About making music in Greece. "Nowadays it is easier to make an album thanks to today's technology,

even collaborate through the internet! But the problems come with doing concerts. And you need an audience for this. Unfortunately Greece's prog audience isn't vast so we have to limit ourselves in few gigs. It is also difficult to do rehearsals because everyone is working the whole day or doesn't have a job so they don't have money to pay a rehearsal studio or even transport.
                                                                         

Touring is expensive both in Greece and even more trying outside Greece because of heavy airport

taxes. Making music is cheap nowadays but trying to put out a CD or even more on vinyl and distribute it is expensive. It all comes down to the matter of cost and the fact that for rehearsals, making music and doing concerts I end up paying way more than receiving. The same goes to all independent groups. At least in Greece." (Nikitas)
                                                

About the press reactions. "Well, in a nutshell, they didn't notice The Fall Of Bliss, they received Suiciety well (thanks to Joe Payne) and I feel that the reaction for Topos is quite numb so far. It makes sense because it is a quite difficult album compared to the previous two, but I will have to wait and see the worldwide reactions when it will grow into the listeners." (Nikitas)

SUICIETY - 2015

                                                         

[Review by Bruford Freak COLLABORATOR Honorary Collaborator

A concept album following the life cycle of a human being, childhood to citizen adult, the lyrics (and music) are replete with references to all of the odd destructive and self-destructive patterns our 'civilized' race has attached itself to. Brainchild of Athenian Nikitas Kissonas, Methexis' music is never predictable and always unexpected. Begin with The Enid's Joe Payne's amazing and enigmatic voice. (Please excuse my previous error in that I mistakenly thought it was Nikitas singing.) It seems that Joe can sound like anyone he chooses. Then focus on Nikitas' eclectic and stunningly diverse guitar soundings and stylings. Then try to pinpoint his influences, the styles he is drawing from in order to make his eminently creative and original songs. It is nearly impossible. This is music that draws from so many diverse and unusual styles and ideas. This is music that tests the capabilities, the combinations and permutations, that are possible within the realms of human expression using sound and music.
                                              

1. "Chapter IV - Ruins" (4:49) starts the album with 'the end'! The fourth and final suite in the album's song-cycle, entitled "ruins," is what Nikitas chooses to begin his album with. I love it! It is an atmospheric 'post-apocalyptic' song much in the vein of Mariuz Duda's LUNATIC SOUL or even Norway's ULVER.
                                        

2. "Chapter 1 - Exterior - Remember, Fear's a Relic" (6:11) opens with the energetic force of a great blues-based jazz-rock song--complete with Hammond organ, sassy horn section, and bluesy GINO VANELLI-like vocal. A surprise as this was quite unexpected but I have to admit: it is quite refreshing and enjoyable. The falsetto chorus is also quite unusual, but then, everything Nikitas creates is quite unusual and unexpected. Quite fun. (9/10)
                                            

3. "Chapter 1 - Exterior - The Windows' Cracking Sound" (1:46) is another unusual song for its surprising mix/engineering: the entire time a heavily treated electric guitar is slowly strumming the accompaniment to Joe Paynes' delicate, untreated voice, a drummer is jamming away at a very fast pace

in the background. Once, at the end, the drums are brought up to front and center before being faded back to deep background for the horn opening of the next song, 4. "Chapter I - Exterior - Who Can It Be" (6:34) is a song performed by a horn ensemble with occasional whispered vocal and mid-song classical guitar interlude (including a brief slightly angular/diminished replication of Beethoven's "Ode to joy"). The post-guitar interlude shifts into PETER HAMMILL territory with some odd jazz instrumentation for accompaniment and the PH vocal. When thing amp back up--first via return of the horns and then full TOBY DRIVER-like band to spacey end. So odd! So outstanding! (10/10)
                                        

5. "Chapter I - Exterior - The Origin of Blame" (3:27) starts out as a piano-accompanied cabaret-like vocal much in the MATTHEW PARMENTER style. The cacophonous 'chorus' is equally 'out there'--but so creative and idiosyncratic! This is such an amazing mind that can successfully weave such odd and unusual sounds and styles into the flow of this, a concept album. I call it genius! (10/10)
                                          

6. "Chapter I - Exterior - Prey's Prayer" (6:07) is an instrumental support/setup for an amazing guitar solo. The guitar play reminds me of JEFF BECK, ROY BUCHANAN, HIRAM BULLOCK, or RAY GOMEZ! Great horn support. This is not a song to be missed! Guitar this sublime is too seldom recorded! (10/10)
                                              

7. "Chapter II - Interior - Sunlight" (8:20) opens with some more adventurous guitar sounds before shifting into a sensitive acoustic guitar supported ballad--not unlike the recent work of JOHANNES LULEY including the voice (though on this song Joe's voice is more similar to that of RITUAL lead vocalist, Patrik Lundström). Quite unusual song structure and sound combinations. So like our enigmatic chameleon Nikiitas! Excellent song. The final section sounds like recent ECHOLYN before the solo voice closes in Peter Hammill fashion! (10/10)
                                              

8. "Chapter II - Interior - The Relic" (8:28) opens with a minute of purposefully picked chords on acoustic guitar which are eventually joined by Joe Payne's equally composed yet emotional vocal. By

the end of the second minute piano and then full band have joined in to support a multi-voiced chorus. In the instrumental fifth minute the music builds in layers and intensity before crescendoing and crashing into silence with a brilliantly placed audible sigh to restore the gentle yet plaintive sounds and structures of the opening. Piano and violin--and later cello--perform some nice soli to accompany the synth orchestral sounds. Nice Post Rock song. (9/10)
                                                

9. "Chapter - Suiciety" (6:40) opens with a fast-paced, hard-driving PORCUPINE TREE-like sound of drums, odd spacey synth sounds and ominous keyboard bass chords until 1:37 when the drumming cuts the pace in half while the pile of ominous incidentals and washes mounts higher and higher. Then at 2:20 everything drops away to leave the slowly picked notes of a solo classical guitar. Cymbol play accompanies the addition of orchestral participation (I especially like the horns sections' contributions). This is then followed by a creative section in which the drummer creatively fills orchestra-supported 'space' with his cymbol and kit play. A return to full force in the ominous chord progressions crescendoes and decays while Joe Payne's treated voice alone fills the album's sad finale. (9/10)
                                              

This is an awesome album of eclectic music! Being a concept album with songs integrated to express this elevates it a notch above Methexis' previous 2011 effort, The Fall of Bliss (which I also love). A brilliant masterpiece of modern progressive rock music--one that gets me so excited to come back to it and hear it again. Special shout out to Linus KÃ¥se and Nikos Zades, the keyboard player and sound design/D&B programmer, respectively. Amazing contributions! And Walle! Awesome play on the batterie! Check this one out, people!

Definitely essential: a Masterpiece of Progressive Rock Music.]

PROG ARCHIVES (Read Here)

                                                               

Methexis – Suiciety
Label: Not On Label (Methexis Self-released) – 002
Format:    CD
Country: Greece
Released: Feb 25, 2015
Genre:  Rock
Style:  Neo - Prog Rock, Art Rock, Symphonic Rock, Avantgarde
Distributed By – Sound Effect Records

TRACKS

                                                                                  

01. Chapter IV - Ruins    4:49
02. Chapter I (exterior) - Remember, Fear's A Relic    6:11
03. Chapter I (exterior) - The Windows' Cracking Sound    1:45
04. Chapter I (exterior) - Who Can It Be?     6:33
05. Chapter I (exterior) - The Origin Of Blame     3:27
06. Chapter I (exterior) - Prey's Prayer     6:07
07. Chapter II (interior) - Sunlight     8:20
08. Chapter II (interior) - The Relic     8:27
09. Chapter III - Suiciety     6:39

Total Time 52:21

Line-up / Musicians

                                 

Nikitas Kissonas / electric, acoustic & Classical guitars, composer, arranger & producer/Music and Lyrics.

With:
Joe Payne / vocals
Linus Kåse / keyboards, synthesizers, grand piano
Nikos Zades / sound design
Brett d'Anon / bass
Mickael Walle Wahlgren / drums
Lu Jeffery / violin
Bernard Kane Jr / viola
Juliet McCarthy / cello
Ron Phelan / double bass

Brass Quintet:

Tom Heath / trumpet
Catriona Christie / trumpet
Nerys Russell / horn
James Patrick / trombone
Alistair Clements / tuba

Artwork: Artemis Schubert and Nikitas Kissonas

CD self-released (2015, Greece)  

THE ORIGIN OF BLAME  LYRICS

 
             

You know,
you can call me shame
and I will call you pain
yiuhu, yiuha let’s play
my favourite game, the origin of blame

You know,
you can call me fame
and I will call you vain
yiuhu, yiuha you shake
fear always was the origin of faith

You know,
you can call me shrink
and I will call you shrinked
yiuhu, yiuha this fix
will take too long since I devised this role

Oh my brothers, can you hear me now?
Can you see the signs?
Resounds and revisions, our apathy to rebound

             

You know,
you can call me mate
and I will call you late
yiuhu, yiuha you lost
you should not count on shoulder’s to lean on.

You know,
you can call me fate
and I will call you GREAT
yiuhu, yiuha you make
a choice to stop and fight your inner war

Holy state lord; you say
Guide us, your flock; and you say
Our mortal souls; you say
Will be your home; and you say
Just give us hope; you say
Promise the world; and you say
And just like prey we pray!

Holy state lord; we say
Guide us, your flock; and we say
Our mortal souls; we say
Will be your home; and we say
Just give us hope; we say
Promise the world; and we say
And just like prey we pray!

MP3 @ 320 Size: 124 MB
Flac  Size: 326 MB

This post is dedicated to my friend Josef From Austria.

Mike Bloomfield: The Bluesman (28 July 1943 - 15 February 1981)

 

In 15 February 1981, Mickael Bloomfield's lifeless body was found locked inside a car on a side

street in San Fransisco. His mysterious drug - related death ended the troubled life of a world - Class Bluesman who had influenced an entire generation of music lovers and guitar players. He was 37.
                                  

Michael Bloomfield was one of America's first great white blues guitarists, earning his reputation on the strength of his work in the Paul Butterfield Blues Band. His expressive, fluid solo lines

and prodigious technique graced many other projects, most notably Bob Dylan's earliest electric forays, and he also pursued a solo career, with variable results. Uncomfortable with the reverential treatment afforded a guitar hero, Bloomfield tended to shy away from the spotlight after spending just a few years in it; he maintained a lower-visibility career during the '70s due to his distaste for fame and his worsening drug problems, which claimed his life in 1981.
                              

Michael Bernard Bloomfield was born July 28, 1943, into a well-off Jewish family on Chicago's North

Side. A shy, awkward loner as a child, he became interested in music through the Southern radio stations he was able to pick up at night, which gave him a regular source for rockabilly, R&B, and blues. He received his first guitar at his bar mitzvah and he and his friends began sneaking out to hear electric blues on the South Side's fertile club scene (with the help of their families' maids).
                                   

ERIC CLAPTON & MIKE BLOOMFIELD

The young Bloomfield sometimes jumped on-stage to jam with the musicians and the novelty of such a spectacle soon made him a prominent scenester. Dismayed with the turn his education was taking, his

parents sent him to a private boarding school on the East Coast in 1958 and he eventually graduated from a Chicago school for troubled youth. By this time, he'd embraced the beatnik subculture, frequenting hangout spots near the University of Chicago. He got a job managing a folk club and frequently booked veteran acoustic bluesmen; in the meantime, he was also playing guitar as a session man and around the Chicago club scene with several different bands.
                                     

In 1964, Bloomfield was discovered through his session work by the legendary John Hammond, who signed him to CBS; however, several recordings from 1964 went unreleased as the label wasn't sure how to market a white American blues guitarist. In early 1965, Bloomfield joined several

associates in the Paul Butterfield Blues Band, a racially integrated outfit with a storming, rock-tinged take on Chicago's urban electric blues sound. The group's self-titled debut for Elektra, released later that year, made them a sensation in the blues community and helped introduce white audiences to a less watered-down version of the blues. Individually, Bloomfield's lead guitar work was acclaimed as a perfectly logical bridge between Chicago blues and contemporary rock.
                                      

BOB DYLAN & MIKE BLOOMFIELD

Later, in 1965, Bloomfield was recruited for Bob Dylan's new electrified backing band; he was a prominent presence on the groundbreaking classic Highway 61 Revisited and he was also part of Dylan's epochal plugged-in performance at the 1965 Newport Folk Festival. In the meantime,

Bloomfield was developing an interest in Eastern music, particularly the Indian raga form, and his preoccupation exerted a major influence on the next Butterfield album, 1966's East-West. Driven by Bloomfield's jaw-dropping extended solos on his instrumental title cut, East-West merged blues, jazz, world music, and psychedelic rock in an unprecedented fashion. The Butterfield band became a favorite live act on the emerging San Francisco music scene and in 1967, Bloomfield quit the group to permanently relocate there and pursue new projects.
                               

Bloomfield quickly formed a new band called the Electric Flag with longtime Chicago cohort Nick

Gravenites on vocals. The Electric Flag was supposed to build on the innovations of East-West and accordingly featured an expanded lineup complete with a horn section, which allowed the group to add soul music to their laundry list of influences. The Electric Flag debuted at the 1967 Monterey Pop Festival and issued a proper debut album, A Long Time Comin', in 1968. 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. Bloomfield himself left the band he'd formed before their album was even released. He next hooked up with organist Al Kooper, whom

he'd played with in the Dylan band, and cut Super Session, a jam-oriented record that spotlighted his own guitar skills on one half and those of Stephen Stills on the other. Issued in 1968, it received excellent reviews and moreover became the best-selling album of Bloomfield's career. Super Session's success led to a sequel, The Live Adventures of Mike Bloomfield and Al Kooper, which was recorded over three shows at the Fillmore West in 1968 and released the following year; it featured Bloomfield's on-record singing debut.
                                    

MIKE BLOOMFIELD & JOHNNY WINTER

Bloomfield, however, was wary of his commercial success and growing disenchanted with fame. He was also tired of touring and after recording the second album with Kooper, he effectively retired for a

while, at least from high-profile activities. He did, however, continue to work as a session guitarist and producer, and also began writing and playing on movie soundtracks (including some pornographic films by the Mitchell Brothers). He played locally and occasionally toured with Bloomfield and Friends, which included Nick Gravenites and ex-Butterfield mate Mark Naftalin. Additionally, he returned to the studio in 1973 for a session with John Hammond and New Orleans pianist Dr. John; the result, Triumvirate, was released on Columbia, but didn't make much of a splash.
                                         

Neither did Bloomfield's 1974 reunion with Electric Flag and neither did KGB, a short-lived

supergroup with Barry Goldberg, Rik Grech (Traffic), and Carmine Appice that recorded for MCA in 1976. During the late '70s, Bloomfield recorded for several smaller labels (including Takoma), usually in predominantly acoustic settings; 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.
                                    

Unfortunately, Bloomfield was also plagued by alcoholism and heroin addiction for much of the '70s, which made him an unreliable concert presence and slowly cost him some of his longtime musical

associations (as well as his marriage). By 1980, he had seemingly recovered enough to tour in Europe; that November, he also appeared on-stage in San Francisco with Bob Dylan for a rendition of "Like a Rolling Stone." However, on February 15, 1981, Bloomfield was found dead in his car of a drug overdose; he was only 37.
By Steve Huey.

MIKE BLOOMFIELD AND AL KOOPER - 1968 THE LIVE ADVENTURES OF MIKE BLOOMFIELD AND AL KOOPER  1997

                                        

Mike Bloomfield And Al Kooper – 1968 The Live Adventures Of Mike Bloomfield And Al Kooper
Label: Columbia – COL 475978-2
Format:    2 x CD, Album
Country: Europe
Released: 1997    
Genre: Rock
Style: Blues Rock, Electric Blues

DISC ONE

                                                

01. Opening Speech  (Speech [Spoken Word] – Mike Bloomfield)  1:31
02. The 59th Street Bridge Song (Feelin' Groovy)  5:33
03. I Wonder Who  (Vocals – Mike)  6:01
04. Her Holy Modal Highness    8:57
05. The Weight    3:56
06. Mary Ann  (Vocals – Mike)  5:19
07. Together 'Til The End Of Time  (Piano – Roosevelt Gook/Vocals – Al)  4:14
08. That's All Right  (Vocals – Mike)  3:18
09. Green Onions    5:20

MP3 @ 320 Size: 109 MB
Flac  Size: 271 MB

DISC TWO

                                                

01. Opening Speech - Al Kooper  (Speech [Spoken Word] – Al Kooper)  1:29
02. Sonny Boy Williamson  (Guitar – Carlos Santana/Vocals – Al)  6:05
03. No More Lonely Nights  (Vocals, Guitar – Elvin Bishop  12:23
04. Dear Mr. Fantasy  (Vocals – Al)  8:09
05. Don't Throw Your Love On Me So Strong    10:53
06. Finale - Refugee  (Guitar [Dropping On Floor] – Mike Bloomfield)  1:47

MP3 My MP3 Producer refuses to convert this CD to MP3
Flac  Size: 244 MB

MUSICIANS

                                                        

  
Al Kooper – organ, ondioline, piano (overdub as Roosevelt Gook on "Together 'Til the End of Time") and lead vocals
Mike Bloomfield – guitar and vocals
John Kahn – bass
Skip Prokop – drums
Carlos Santana – guitar on "Sonny Boy Williamson"
Elvin Bishop – guitar and lead vocal on "No More Lonely Nights"

Steve Miller and Dave Brown had also volunteered their services. Kooper says (in his book Backstage Passes & Backstabbing Bastards) that Santana, Bishop and Miller performed on three or four songs each. He says Miller "played great", but does not appear on the album because Capitol Records would not give permission.

AL KOOPER AND MIKE BLOOMFIELD - FILMORE EAST - THE LOST CONCERT TAPES 12/13/68 2004

                                                       

Al Kooper - Mike Bloomfield – Fillmore East: The Lost Concert Tapes 12/13/68
Label: Columbia – COL E253
Series:    Live From The Vaults
Format:    CD, Album, Remastered
Country: Europe
Released: 2004
Genre: Rock
Style: Blues Rock

TRACKS

                                                

01. Introductions/Speech [Spoken Word] – Mike Bloomfield  1:27
02. One Way Out  (Written-By – E. James, M. Sehorn, S. Williamson)  4:21
03. Mike Bloomfield's Introduction Of Johnny Winter/(Speech [Spoken Word] – Mike Bloomfield)  0:59
04. It's My Own Fault  (Featuring – Johnny Winter/Written-By – B.B. King, J. Taub)  10:57
05. 59th Street Bridge Song (Feelin' Groovy)  (Written-By – P. Simon)  6:16
06. (Please) Tell Me Partner  (Written-By – M. Bloomfield)  10:11
07. That's Alright, Mama  (Written-By – A. Crudup)  3:40
08. Together Till The End Of Time  (Written-By – F. Wilson)  4:30
09. Don't Throw Your Love On Me So Strong  (Written-By – A. King)  8:41
10. Season Of The Witch  (Written-By – D. Leitch)  8:59

MUSICIANS

                                          

Drums – Johnny Cresci
Executive-Producer – Bruce Dickinson
Guitar, Vocals – Johnny Winter (tracks: 4), Mike Bloomfield
Mastered By – Allan Tucker
Organ, Piano, Vocals – Al Kooper
Piano – Paul Harris
Producer – Al Kooper
    
Recorded December 13th & 14th 1968 at Bill Graham's Fillmore East.
© 2003 Sony Music Entertainment Inc.

MP3 @ 320 Size: 141 MB
Flac  Size: 354 MB

MIKE BLOOMFIELD - DON'T SAY THAT I AIN'T YOUR MAN! (ESSENTIAL BLUES 1964-1969) 1994

                                              

Mike Bloomfield - Don't Say That I Ain't Your Man! (Essential Blues 1964-1969)
Label: Columbia – 476721 2, Legacy – 476721 2
Series:    Roots n' Blues, Contemporary Blues Masters
Format:    CD, Compilation
Country: Europe
Released: 1994
Genre: Rock    
Style: Blues, Electric Blues

TRACKS

                                               

01. I've Got You In The Palm Of My Hand    2:26
02. Last Night    3:24
03. Feel So Good    2:54
04. Goin' Down Slow    3:40
05. I've Got My Mojo Working    2:39
06. Born In Chicago (With Butterfield Blues Band)    3:08
07. Work Song (With Butterfield Blues Band)    7:55
08. Killing Floor    4:11
09. Albert's Shuffle    6:54
10. Stop    4:23
11. Mary Ann    5:28
12. Don't Throw Your Love On Me So Strong    11:03
13. Don't Think About It Baby    2:34
14. It Takes Time (With Nick Gravenites)    4:07
15. Carmelita Skiffle    5:13

MP3 @ 320 Size: 167 MB
Flac  Size: 434 MB

MICKAEL BLOOMFIELD WITH NICK GRAVENITES AND FRIENDS - LIVE AT BILL GRAHAM'S FILMORE WEST 1969

 

 

Michael Bloomfield With Nick Gravenites An
d Friends – Live At Bill Graham's Fillmore West 1969
Label: Raven Records – RVCD-293
Format:    CD, Album, Compilation, Remastered
Country: Australia
Released: 2009
Genre: Rock
Style: Blues Rock

TRACKS

                                 

01. It Takes Time  (Vocals – Nick Gravenites/Written-By – Otis Rush, Willie Dixon)  4:27
02. Oh Mama  (Written-By, Vocals – Michael Bloomfield)  2:59
03. Love Got Me
(Vocals – Bob Jones/Written-By – Arthur Conley)  2:37
04. Blues On A Westside  (Written-By, Vocals – Nick Gravenites)  15:18
05. One More Mile To Go  (Vocals – Taj Mahal/Written-By – Joseph Cotton)  10:35
06. It's About Time  (Written-By, Vocals – Nick Gravenites)  7:00    
07. Carmelita Skiffle (Instrumental)  (Written-By – B. T. Jones, M. Naftalin, M. Bloomfield, N. Gravenites)  5:11
08. Killing My Love  (Written-By, Vocals – Nick Gravenites)  5:18
09. Gypsy Good Time  (Written-By, Vocals – Nick Gravenites)  4:30
10. Holy Moly  (Written-By, Vocals – Nick Gravenites)  3:54
11. Moon Tune  (Written-By, Vocals – Nick Gravenites)  8:32

BONUS TRACK

    
12. Mary Ann  (Drums – Skip Prokop/Organ, Vocals, Producer – Al Kooper)  5:28

MUSICIANS

                                                       

Baritone Saxophone – Snooky Flowers
Bass – John Kahn
Congas – Dino Andino
Drums, Vocals – Bob Jones (tracks: 1 to 11)
Guitar, Vocals – Michael Bloomfield
Liner Notes – Ian McFarlane
Mastered By – Warren Barnett
Organ – Ira Kamin (tracks: 1 to 11)
Piano – Mark Naftalin (tracks: 1 to 11)
Producer – Elliot Mazer (tracks: 1 to 11)
Tenor Saxophone – Noel Jewkis
Trumpet – John Wilmeth
Vocals – Taj Mahal
Vocals, Guitar – Nick Gravenites (tracks: 1 to 11)

MP3 @ 320 Size: 163 MB
Flac  Size: 414 MB

NICK GRAVENITES - MY LABORS (EXPANDED EDITION)  2008 (WITH MIKE BLOOMFIELD)

                                                  

This is a strong major-label debut that the Chicago-born San Francisco bluesman was unable to capitalize on. Some of the tracks are from the same session that produced Live at Bill Graham's Fillmore West by Mike Bloomfield. Gravenites, an exceptional songwriter and decent singer, benefits from the presence of the amazing Bloomfield. He elevates the fierce "Moon Tune" to dizzying heights with two dazzling, lengthy solos. Quicksilver Messenger Service backs former producer Gravenites on several studio tracks.

Nick Gravenites – My Labors
Label: Sony Records Int'l – SICP 1965
Series:    New Rock Series Young Power
Format:    CD, Album, Limited Expanded Edition, Reissue, Remastered
Country: Japan
Released: Dec 24, 2008
Genre: Rock    
Style: Blues

TRACKS

                                            

01. Killing My Love    4:29
02. Gypsy Good Time    3:55
03. Holy Moly    5:19
04. Moon Tune    8:48
05. My Labors    2:55
06. Throw Your Dog A Bone    2:35
07. As Good As You've Been To This World    10:04
08. Wintry Country Side    2:57
09. Work Me Lord    13:15
10. Born In Chicago    4:25
     

MP3 @ 320 Size: 137 MB
Flac  Size: 358 MB

MIKE BLOOMFIELD - LATE AT McCABE'S GUITAR WORKSHOP, JANUARY 1, 1977

    

Mike Bloomfield – Late At Night - McCabe's January 1, 1977
Label: RockBeat Records – ROC-3421
Format:    CD, Album
Country: US
Released: 2018
Genre: Rock
Style: Blues

ACOUSTIC PERFORMANCES    

            
01. Hymn Tune    3:34
02. Frankie And Johnny    4:41
03. I'm With You Always    3:40
04. Some Of These Days    4:58
05. Stagger Lee    4:29
06. Darktown Strutter's Ball    4:04
07. I'm Glad I'm Jewish    3:16

ELECTRIC PERFORMANCES

            
08. Medley:    (3:52)
8a. Jockey Blues    
8b. Old Folks Boogie    
09. Eyesight To The Blind    4:14
10. Bloomfield Chats    0:55
11. Don't You Lie To Me    3:32
12. A-Flat Boogaloo    5:17

MUSICIANS

                                         

Bass – Buell Neidlinger
Drums – Buddy Helm
Executive-Producer – Arny Schorr, David Skye
Guitar, Vocals – Mike Bloomfield
Keyboards – Mark Naftalin
Mastered By – Randy Perry

Recorded live at McCabe's Guitar Shop, Santa Monica, CA on Januay 1, 1977 during the late show.

MP3 @ 320 Size: 109 MB
Flac  Size: 241 MB

MIKE BLOOMFIELD - LIVE AT NIGHT McCABE'S GUITAR WORKSHOP, JANUARY 1, 1977

 

             

Mike Bloomfield – Live At McCabe's Guitar Workshop, January 1, 1977

       

Label: RockBeat Records – ROC 3392
Format:    CD, Album
Country: US
Released: 2017
Genre: Rock
Style: Blues

TRACKS

                                           

01. Women Lovin' Each Other
02. Don't You Lie To Me
03. Cherry Red
04. Hully Gully
05. Wings Of An Angel (Prisoner's Song)
06. Walkin' The Floor Over You
07. Junko Partner
08. Knockin' Myself Out
09. Prescription For The Blues
10. You Must Have Jesus

MUSICIANS

Bass – Buell Neidlinger
Drums – Buddy Helm
Guitar, Vocals – Michael Bloomfield
Keyboards – Mark Naftalin
Mastered By [Mastering] – Randy Perry
Producer [Executive Archival Producer] – David Skye

MP3 @ 320 Size: 103 MB
Flac  Size: 210 MB

MIKE BLOOMFIELD - LIVE AT THE OLD WALDORF  1976 - 77

 
    

Mike Bloomfield – Live At The Old Waldorf  1976 - 77
Label:    Columbia – 491575 2
Series: Legacy
Format:    CD, Album, Remastered  1998
Country: Austria, Europe
Released: 1976 - 77    
Genre: Rock
Style: Blues, Electric Blues

TRACKS

                           

01. Blues Medley:    (7:45)
1a. Sweet Little Angel  (Written-By – B.B. King, Jules Bihari)
1b. Jelly Jelly  (Written-By – Billy Eckstein, Earl Hines)
02. Feel So Bad  (Written-By – Lightnin' Hopkins)  4:26
03. Bad Luck Baby  (Written-By – Nick Gravenites)  5:52
04. The Sky Is Cryin'  (Written-By – Elmore James)  5:53
05. Dancin' Fool  (Written-By – Nick Gravenites)  3:49
06. Buried Alive In The Blues  (Written-By – Nick Gravenites)  4:55
07. Farther Up The Road  (Written-By – Don Robey, Joe Veasey)  3:16
08. Your Friends  (Written-By – Deadric Malone)  7:18
09. Bye, Bye  (Written-By – Nick Gravenites)  4:25

MUSICIANS

                            

Bass – Roger (Jellyroll) Troy
Drums – Bob Jones , George Rains (tracks: 1a, 1b)
Harmonica – Mark Adams  (tracks: 1a, 1b)
Lead Guitar – Mike Bloomfield
Lead Vocals – Bob Jones  (tracks: 2, 4), Roger (Jellyroll) Troy (tracks: 1a, 1b, 7, 8)
Lead Vocals, Rhythm Guitar – Nick Gravenites (tracks: 3, 5, 6, 9)
Mastered By – Al Quaglieri, Chris Athens, Don Ososke
Organ [Hammond] – Barry Goldberg (tracks: 1a, 1b)
Piano – Mark Naftalin (tracks: 1a to 3, 5 to 9), Unknown Artist (tracks: 4)
Producer, Photography By, Liner Notes – Norman Dayron
Recorded By – Norman Dayron (tracks: 2 to 9)

Tracks recorded live at Old Waldorf, San Francisco, CA:
2 & 7, March 14, 1977
3 & 4, May 16, 1977
5, February 27, 1977
6 & 8, December 19, 1976
9, March 13, 1977
Tracks 1a & 1b recorded before an audience at Record Plant, Sausalito, CA, on November 10, 1974 and broadcast live on KSAN radio.

MP3 @ 320 Size: 112 MB
Flac  Size: 292 MB

MIKE BLOOMFIELD - THE ROOT OF BLUES  1994

 
          

Mike Bloomfield – The Root Of Blues
Label: LaserLight Digital – 12 357
Format:    CD, Album, Reissue
Country: US
Released: 1994
Genre: Rock
Style: Blues

TRACKS

                                    

01. City Girl
02. The Train Is Gone
03. Hey Foreman
04. WDIA
05. Death Cell Rounder Blues
06. Mama Lion
07. Thrift Shop Rag
08. Death In The Family
09. Kansas City
10. East Colorado Blues

MUSICIANS

Acoustic Guitar – Woody Harris
Baritone Saxophone – Hart McNee
Bass – Doug Killmer
Drums – Tom Donlinger
Piano – Ira Kamin
Slide Guitar, Electric Guitar, Acoustic Guitar, Bass, Piano, Organ, Drums – Michael Bloomfield
Tenor Saxophone – Ron Stallings

MP3 @ 320 Size: 76 MB
Flac  Size: 191 MB

MIKE BLOOMFIELD - KNOCKIN' MYSELF OUT  2002

 
  

Mike Bloomfield – Knockin' Myself Out
Label: Fuel 2000 – 302 061 256 2
Format:    CD, Compilation, Stereo
Country: US
Released: Nov 19, 2002
Genre:Rock
Style: Blues

TRACKS

                                                 

01. Knockin' Myself Out  (Songwriter – Lillian Green)  4:03
02. Sloppy Drunk  (Arranged By – Mike Bloomfield/Songwriter – Traditional)  5:59
03. You Took My Money  ((Arranged By – Mike Bloomfield/Songwriter – Traditional)  3:59
04. Peepin' an A-Moanin' Blues  (Songwriter – Mike Bloomfield)  2:38
05. The Gospel Truth  (Songwriter – Norman Dayron)  4:42
06. Lights Out  (Songwriter – Mac Rebennack, Seth David)  1:48
07. Orphan's Blues  (Songwriter – Robert Brown)  5:12
08. Mr. Johnson And Mr. Dunn  (Songwriter – Mike Bloomfield)  2:52
09. Peach Tree Man  (Songwriter – Mike Bloomfield)  3:46
10. Saturday Night  (Songwriter – Mike Bloomfield)  1:51
11. Your Friends  (Songwriter – Deadric Malone)  6:55
12. It'll Be Me  (Songwriter – Jack Clement)  2:59
13. At The Cross  (Songwriter – Louis Johnson, Rev. Claude Jeter)  4:34
14. Crisco Kid  (Songwriter – Mike Bloomfield)  6:45

Producer – Norman Dayron

Tracks 1,2,3 & 5 taken from the album "Michael Bloomfield" (TAK 7063)
Tracks 6,7 & 11 taken from the album "Between The Hard Place And The Ground" (TAK 7070)
Track 12 taken from the album "Cruisin' For A Bruisin'" (TAK 7091)
Tracks 4, 8 & 13 taken from the album "Analine "(TAK 1059)
Tracks 9 & 10 previously unrealeased on CD
Track 14 previously unrealeased

MP3 @ 320 Size: 139 MB
Flac  Size: 292 MB

Al Kooper on Urban Aspirines HERE
Al Kooper + Mike Bloomfield + Steve Stills: Super Session HERE
Nick Gravenites Live In Greece HERE