JOHN MAYALL LOTS OF PEOPLE OOP ORIGINL'77 LP BLUES ROCK

JOHN MAYALL LOTS OF PEOPLE LPCategory / Style / Moods: Rock * Rock * Blues-Rock * Electric Harmonica Blues * British Blues * Blues Revival * Organ * Guitar * Harmonica * Piano * Harmonium * Harpsichord * Keyboards * Tambourine * Ukulele * Vocals * Leader / 17.77 S1977 US ABC LPTITLE: LOTS OF PEOPLEARTIST: JOHN MAYALLCONDITIONVINYL: VG+ OR BETTERCOVER: VG OR BETTERClick here for info on grading and abbreviationsORIGINAL PRESS OUT OF PRINT! TRACKS:1.Spoken Intro by Red Holloway:182.Changes in the WindMayall 4:023.Burning DownMayall 5:064.Play the HarpMayall 5:315.A Helping HandMayall 7:276.I Got to Get Down With YouMayall 4:357.He's a Traveling ManMayall 4:348.Separate WaysMayall 5:529.Room to MoveMayall 6:39CREDITS Warren Bryant Percussion Beckie Burns Vocals F. Byron Clark Engineer David II Saxophone, Baritone Red Holloway Saxophone, Sax (Tenor) Leslie Ann Jones Engineer Bill Lamb Trombone, Trumpet David Li Saxophone John Mayall Guitar, Harmonica, Piano, Keyboards, Vocals, Producer Ann Patterson Flute, Oboe, Sax (Alto), Wind Jim Roberts Saxophone, Sax (Tenor) Gary Rowles Guitar Nolan Andrew Smith Trumpet Pat Smith Vocals Jay Spell Keyboards, Piano (Electric), Clavinet, Moog Synthesizer Larry Taylor Bass, Guitar (Bass) Pepper Watkins Vocals Frank Wilson Drums Frank Wilson Drums J. Frank Wilson Drums Biography by Richie Unterberger The elder statesman of British blues, it is Mayall's lot to be more renowned as a bandleader and mentor than as a performer in his own right. Throughout the '60s, his band, the Bluesbreakers, acted as a finishing school for the leading British blues-rock musicians of the era. Guitarists Eric Clapton, Peter Green, and Mick Taylor joined his band in a remarkable succession in the mid-'60s, honing their chops with Mayall before going on to join Cream, Fleetwood Mac, and the Rolling Stones, respectively. John McVie and Mick Fleetwood, Jack Bruce, Aynsley Dunbar, Dick Heckstall-Smith, Andy Fraser (of Free), John Almond, and Jon Mark also played and recorded with Mayall for varying lengths of times in the '60s. Mayall's personnel has tended to overshadow his own considerable abilities. Only an adequate singer, the multi-instrumentalist was adept in bringing out the best in his younger charges (Mayall himself was in his 30s by the time the Bluesbreakers began to make a name for themselves). Doing his best to provide a context in which they could play Chicago-style electric blues, Mayall was never complacent, writing most of his own material (which ranged from good to humdrum), revamping his lineup with unnerving regularity, and constantly experimenting within his basic blues format. Some of these experiments (with jazz-rock and an album on which he played all the instruments except drums) were forgettable; others, like his foray into acoustic music in the late '60s, were quite successful. Mayall's output has caught some flak from critics for paling next to the real African-American deal, but much of his vintage work -- if weeded out selectively -- is quite strong; especially his legendary 1966 LP with Eric Clapton, which both launched Clapton into stardom and kick-started the blues boom into full gear in England. When Clapton joined the Bluesbreakers in 1965, Mayall had already been recording for a year, and been performing professionally long before that. Originally based in Manchester, Mayall moved to London in 1963 on the advice of British blues godfather Alexis Korner, who thought a living could be made playing the blues in the bigger city. Tracing a path through his various lineups of the '60s is a daunting task. At least 15 different editions of the Bluesbreakers were in existence from January 1963 through mid-1970. Some notable musicians (like guitarist Davy Graham, Mick Fleetwood, and Jack Bruce) passed through for little more than a cup of coffee; Mayall's longest-running employee, bassist John McVie, lasted about four years. The Bluesbreakers, like Fairport Convention or the Fall, was more a concept than an ongoing core. Mayall, too, had the reputation of being a difficult and demanding employer, willing to give musicians their walking papers as his music evolved, although he also imparted invaluable schooling to them while the associations lasted.This exquisite piece of retro music history is a vinyl sound recording (not a CD). Visit the A Sound Deal store for information on grading, shipping, abbreviations and general info.Add me to your favorites for red hot sales bulletins and sneak previews of upcoming products. Click here for more info on grading and abbreviationsCombine Items to Save $$$ ---Click here to check the store for more!©A Sound Deal