Quote:
Originally Posted by Mrpeabody
Dude, did Bloomfield shoot your dog or something?
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When you bite the hands of the hapless goyim, what do you expect? (Next best thing to a dog I suppose)
IMHO, Bloomfield was very underrated, but had the ego and brashness. The only contemporary players his age he ever deferred to were Hendrix and Clapton.
You mean by ducking trading chops with them at nearly every opportunity that presented itself? Is that the mark of a grade A performer, let alone axe slinger? He couldn't even hang with Kooper during the so called Super Session, so Stills had to be called in to finish the project. The story of his life in so many ways.
But he did play and learn alongside all the Chicago blues icons when Greenie was still chopping meat. And because of how his talent developed, when Muddy calls you his son, I think you've achieved something.
When you kneel at their feet like he did, you can come off as something of a junior. That's cool if he wanted to mimic the Stax swing of things when the crowds had largely taken to different pastures, but to curse others for not "getting it" hahaha. Is that my misperception? Oh yeah, must be that damn goy thinking getting in the way again! [*slaps forehead for not knowing better*]
If Bloomfield's career was "marginal" compared to Green's, it was because he wanted it that way.
Ha! Like he had much of a choice in the matter. He had Albert Grossman and his wired connections in his pocket, plenty of advance money and the promotion machine was all in place. Not everyone gets it so easy. Green was known to hit home runs with less. Bloomie ... uh .... er ....
He was never comfortable with the "band leader" or front man job, which was one of the reasons the Flag failed.
Try this. He couldn't retain the reins of his Flag when a young cat named Miles was overtaking them. Not that it didn't needle him a plenty.
His 70s output, which were very minimally distributed and purposely low-key affairs, stands as some of the most truly inspired playing he ever did (see "If You Love These Blues" LP). Drugs and alcohol destroyed whatever ambition he had left by then.
Well when his never-ending insomnia and mainlining weren't superseding most everything else, sure you can bring up his "low key" approach, for all it was worth. What else was left for him by that point?
I don't know what "puffulating" is, or how he did it
Read it in the context of how it was delivered. You don't have to be a clairvoyant [that's called a "play" on words].
but he was very respectful of other guitarists, namely Ry Cooder, Eric Gale, Steve Cropper, and a whole host of others. He even name-checks them all (INCLUDING Peter Green) on "The Altar Song" on the album I named. But he did hate record execs who tried to exploit him and said so publicly.
Respectful to those he felt were kosher enough, ergo, those who were mostly walking on his side of the musical tracks.
Greenie and Bloomers were markedly different players, but both had the respect of their peers and their mentors. I love both for their different styles and approaches to the music. I'm not hung up on their color or the effectiveness of their various career moves.
Good for you. Now go back and revisit what I already wrote. You'll see I never said he couldn't play (though I'm not sure he should have left Butterfield from the start), but if he isn't a case of the under-realized considering the original potential, I don't know who is. When others, for whom he took jabs at, were stepping up to the plate, he made a career of largely ducking things, wasting time in low budget Hollywood tub thump productions, decrying why his Flagship and that "American music" panacea he was pushing wasn't sweeping the masses, and laying low enough to effectively dodge the radar, that one called reality. The times largely passed him by imo, even if the hype machine never let go.