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Blues Breakers With Eric Clapton (Remastered) Extra tracks, Original recording remastered

4.6 out of 5 stars 128 customer reviews

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Audio CD, Extra tracks, Original recording remastered, June 5, 2001
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Editorial Reviews

A key catalyst of the late-'60s British blues boom, this 1966 milestone brought Mayall attention and Clapton to the brink of stardom. This might be the best British blues album ever, with All Your Love; Parchman Farm; Hideaway; Rambling on My Mind (featuring Clapton's first recorded vocals!) and more. Bonus tracks: both sides of their rare Lonely Years/Bernard Jenkins single, recorded prior to the LP!
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Product Details

  • Audio CD (June 5, 2001)
  • Number of Discs: 1
  • Format: Extra tracks, Original recording remastered
  • Label: Polydor
  • ASIN: B00005K9QP
  • Average Customer Review: 4.6 out of 5 stars  See all reviews (128 customer reviews)
  • Amazon Best Sellers Rank: #3,439 in Music (See Top 100 in Music)

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Customer Reviews

Top Customer Reviews

Format: Audio CD
If you've never heard this album then this remaster is the best way to hear it. It's clean, has good separation and features two
bonus tracks recorded by John and Eric. Now for the anorak, trainspotting details of WHY this album is important. Quite simply, as far as tone, technique and temperament, Eric Clapton at this time was revolutionary. In the guitar world there are two periods; BB (Before "Bluesbreakers") and AB (After "Bluesbreakers"). First, tone. NO ONE had this kind of overdriven, aggressive and harmonically rich sound before 1966.
Literally, what we associate with rock/blues guitar sound for the last 35 years can be traced back to the tones Clapton was getting in '66. Second, technique. Imagine yourself as young
person in England at this time and you've discovered the great American blues guitarists like B.B. and Freddie King but figure
you will never see them unless you go to America. Then you hear about AN ENGLISHMAN your age who can play that way, plus add
something of his own. Third, temperament. Eric Clapton was able
at young age to both tap into a vastly different world (that of the African-American middle aged bluesman)and supply his own
revolutionary ideas about how the elecrtic guitar could be played. Revolutionary is right. People forget about that all the time but in 1966 Clapton changed everything. It is a tribute to his basic sanity after all these years and personal problems that
he DIDN'T try and continually live up to that standard. He did
other things. Most musicians never have the opportunity to revo-
lutionize anything and very very few can do it more than once.
Whenever anyone looks disparagingly on Eric Clapton's career, and
he had some low points it's true, all I have to say is "Bluesbreakers".
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Format: Audio CD
Few albums have had greater impact than the landmark John Mayall With Eric Clapton "Blues Breakers." Released by the Decca label in Britain on 22 July 1966, literally days after Clapton quit the Bluesbreakers and just a week before Cream's debut, it went all the way to #6: no mean feat since Mayall's band had never had a hit single. This may have been a first in Britain.

Of course, this is the album that set the blues and guitar worlds aflame and established Eric Clapton's name worldwide as the most passionate of musical interpreters. If you haven't yet heard "Beano" (as the album is affectionately known, because Clapton is pictured reading "The Beano" comic book on its cover), then you ain't heard nuthin' yet!

From the album's first notes, you realize that you're in guitar heaven, as "Slowhand" shows us the way electric guitar can and should be played. Clapton's virtuoso playing is white-hot throughout. Playing with maturity beyond his then-21 years, the young guitarist was so influential that Gibson eventually reissued the (out-of-production-since-1960) Les Paul model guitar, which Clapton then played.

John Mayall's Bluesbreakers served--and his current band still serves today--as a finishing school for great musicians and sidemen (Clapton, Peter Green, Mick Taylor, John McVie, Jack Bruce, Aynsley Dunbar, Mick Fleetwood, Walter Trout, Coco Montoya and others). Mayall's proselytizing the blues (he's 82 years old!), his songwriting skills and his other musical talents should not be ignored nor taken lightly.
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Format: Audio CD Verified Purchase
Well this is one of the most memorable LPs of my life. I have been a Blues fan (fanatic?) for 40 years and it all started with this LP. I probably played along with the first side of this record everyday of my Junior year in High School. I had been introduced, as a teen age American, to R&B and Blues with the Rolling Stones, especially the 12x5 album, when they did Little Walter's (1950s version ala Jay "Hootie" McShann and Walter Brown's 1941 original) "Confessin' The Blues" (still the greatest Chicago Blues tune ever recorded by a British band). That was 1965, I got to know all the Chuck Berry and Bo Diddley originals. But this record opened up the Chicago Blues-But done differently, not just mere imitation-(that has been suggested in previous reviews, but I never believed it-(check out the differences in style and arrangement and sound) they really didn't/couldn't do that and they knew it, or at least Clapton did. Mayall was older than the rest and he really wanted to emulate his idols in Chicago. Clapton had a deeper (and younger) perception on this genre- and was a White British guy! Clapton was a lot like his young protege Doyle Bramhall II on his latest Sessions for Robert J- an extension on his first ever recorded vocal "Ramblin' On My Mind" on this CD. Bramhall confessed he never listened to Johnson much before this session. Well Clapton had been with the Yardbirds (as we all know) and had been getting into Blues with Mayall's extensive record collection. He came to this session also with a fresh mind.

The session was done at a loud- "club-like" sound level which perplexed the sound engineers. The distortion of the Marshall amp with the Les Paul was augmented by the sound engineers to make something really unique.
Read more ›
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