John Mayall with Eric Clapton: Blues Breakers

  I decided to launch a new series to imagine myself as a critic at the end of the 60s and start of the 70s, and to rectify certain reviews from Rolling Stone magazine and Creem. This not meant to be contrarian, but to offer a more balanced perspective. All the albums reviewed are indeed classic albums.

John Mayall & The Blues Breakers with Eric Clapton (1966)

****1/2

Producer: Mike Vernon

Musicians: John Mayall, Eric Clapton, John McVie, Hughie Flint, Alan Skidmore, Johnny Almond, Derek Healey

Songs and Music: All Your Love, Hideaway, Little Girl,  Another Man, Double Crossing Time, What’d I Say, Key to Love, Parchman Farm, Have You Heard, Ramblin’ On My Mind, Steppin’ Out, It Ain’t Right

Reviewed By Matthew Antony Allair

    John Mayall has assembled a new line up of his dedicated blues band and he has picked former Yardbirds member Eric Clapton. The Organ, Piano, Harmonica work of Mayall is some solid work, and he has been the torch bearer for popularizing blues music in the UK. Yet I believe this is his first official release, barring prior singles. John’s last live album Mayall plays Mayall was a good endeavor. Clapton’s last appearance with the Yardbirds, Having A Rave Up with the live half of material with Clapton had some good moments, but Clapton’s evolution here with Mayall is startling to observe. Clapton’s full throated guitar tone, and the pairing of a guitar with amp, will likely influence other guitarists who are looking for a new direction*. But how does all of this measure up? In truth, Mayall is the glue that holds this together, but he has allowed his guitarist a lot of freedom and even allowed him the vocal show case on one song – but we will get to that shortly.

    The opener “All Your Love”, an Otis Rush number, features Eric's rhythm and lead work, aside from Mayall’s organ, this acts as a mission statement for the band. The double time change allows Clapton to shine. But the track is the prelude to the instrumental showcase of Freddie King’s “Hideaway” allows Clapton to really dig in, jumping between double time and a straight tempo. I should add that Clapton's interpretation feels so fresh that Freddy King's version feels mannered now. Mayall’s Organ really helps to edge Clapton onward. The pop blues of “Little Girl” is not that different from some of Clapton’s work with the Yardbirds, but it’s a nice little acknowledgement nonetheless. Yet Clapton is allowed some more fire on this one. The stripped down “Another Man” with just vocal, harmonica, and percussion reminds the public of another kind of blues. Eric is given a co-writing credit on “Double Crossing Time”, Mayall offers up some full piano blues with the horns and guitar doubling. Clapton’s lead is indeed biting on this one. Mayall doubles the Organ and Piano on their cover of Ray Charles “What’d I Say”, while Clapton has his moments to shine, this really feels like a showcase for Mayall and Flint. Clapton does a cheeky quote from “Day Tripper” on the ride.

     The side two opener “Key To Love, has the full horn section along with Clapton who offers some biting lead work This also seems to take a nod to the Atlantic Records sound. Mose Allison has been a favorite of British musicians for a while, and his “Parchman Farm” as set up a drums, bass, and harmonica trio, Clapton sits this one out and yet it just illustrates the range that Mayall is willing to explore. The haunting “Have You Heard” opens and is carried over by the saxophone solo, before Clapton takes over, there’s a nice interplay between Mayall’s organ and the horn section in support, the rhythm just sits in the back. The simple guitar and piano interplay between Mayall and Clapton allows Eric to take the lead vocal on “Ramblin’ On My Mind” a Robert Johnson staple in blues circles. Clapton is allowed another instrumental show case with the Memphis Slim material of “Steppin’ Out’. The full band with organ and horns blares in with a fun number. The spry, Blues rave up of “It Ain’t Right”, another cover of a Little Walter number allows Mayall to take the Harmonica lead, as well as a fitting closer to the album.

    There’s a certain sympatico between Mayall and Clapton that allows Eric to put his best work forward, he sounds less restrained here. I am reticent to declare Clapton the best blues player, he is equal to other players before him, but I suspect there’s other players we  don’t know about them yet. Overall a fun album for anyone not initiated with traditional blues, which makes for a good gateway album. Highly Recommended.