Track listing
Show track credits
- A1 All Your Love
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vocals
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drums
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writer
-
writer
-
- A2 Hideaway
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vocals
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drums
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writer
-
writer
-
- A3 Little Girl
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vocals, writer
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drums
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- A4 Another Man
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vocals, arranger
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writer
-
- A5 Double Crossing Time
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vocals, writer
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writer
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baritone saxophone
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- A6 What'd I Say
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vocals
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drums
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writer
-
- B1 Key to Love
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vocals, writer
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baritone saxophone
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tenor saxophone
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trumpet
-
- B2 Parchman Farm
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vocals
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writer
-
- B3 Have You Heard
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vocals, writer
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baritone saxophone
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tenor saxophone
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trumpet
-
- B4 Ramblin' on My Mind
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vocals
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writer
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- B5 Steppin' Out
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baritone saxophone
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tenor saxophone
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trumpet
-
music
-
- B6 It Ain't Right
-
vocals
-
drums
-
writer
-
Rate/Catalog
Catalog
Set listening
Review
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44 Issues
- Release view [combined information for all issues]
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Blues Breakers [p] 33 rpm, Mono
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Blues Breakers 33 rpm
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Blues Breakers With Eric Clapton 33 rpm, Mono
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Blues Breakers 33 rpm
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Blues Breakers 33 rpm
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Blues Breakers 33 rpm, Remastered
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Blues Breakers Remastered
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Blues Breakers With Eric Clapton Gold Disc, Remastered
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Blues Breakers Bonus Tracks, Remastered
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Blues Breakers Bonus Tracks, Remastered
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Blues Breakers With Eric Clapton Remastered
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Blues Breakers With Eric Clapton Bonus Tracks, Remastered
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Blues Breakers With Eric Clapton Bonus Tracks, CD Sized Album Replica, Limited Edition, Remastered
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Blues Breakers Bonus CD, Bonus Tracks, Deluxe Edition, Digipak, Remastered
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Blues Breakers With Eric Clapton 180 gram, 33 rpm
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Blues Breakers 180 gram, 33 rpm, Digital Download
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Blues Breakers Bonus CD, CD Sized Album Replica, Deluxe Edition, Limited Edition, Remastered, SHM
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Blues Breakers With Eric Clapton Gold Disc, Numbered Edition, Remastered
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Blues Breakers Paper/Cardboard Sleeve, Remastered
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Blues Breakers With Eric Clapton 180 gram, Mono
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Blues Breakers Remastered, SHM
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Blues Breakers 180 gram, 33 rpm, Colored Vinyl, Limited Edition
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Bluesbreakers 33 rpm
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Blues Breakers 33 rpm
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Blues Breakers with Eric Clapton Digital file, Streaming
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109 Reviews
Clapton does the right thing and stays away from singing or writing the songs (for the most part) and the album is that much better for it.
Published
Indeed, the 1960’s were certainly some strange years. Of course The Beatles where ‘the’ group to listen to, from there it was but a single short step to The Rolling Stones, where AM Radio for the most part played a hybrid mixture of tunes designed for the masses, to be consumed without thinking. But there was an essence that lingered from much of the music of the 1950’s, and was certainly explored by Bob Dylan ... that being, ‘The Blues.’
Of course I traveled with my Stones albums and listening to Dylan with the passion I did raised many eyebrows among my friends. So when I showed up at school with this Blues Breakers album, I felt that I had stepped across some sort of imaginary line that indicated unacceptable behavior. The album cover was not attractive in the least, but for me it was compelling, revealing a gritty side of life that didn’t just call to me, it shouted my name out loud. I loved this cover, a true snapshot, nothing posed [though I was to find out later that it really was extremely posed], nothing manipulated, just the guys sitting at a train stop, waiting to relentlessly move on. I got it [!] ... for once it wasn’t about the clothes, or the cool hair cuts, it was about the music. This cover was not lost to the thinking of other musicians either, it became a subliminal message for saying, “It’s not about us, it’s about the music.” This cover has been copied in many variations, with probably the most famous being by Crosby, Stills, and Nash.
But it was what was inside that really got to me, this was like the music that came in on my small transistor radio during the wee hours on damp rainy nights; from places like Galveston, Baton Rouge and Memphis. I loved it, even if I couldn’t dance to it, because it settled in a fresh new spot, and I was addicted to the feeling. Oh yeah, I put the colourful scarves over the lamps in my room, creating atmosphere ... my head, neck, and shoulders developed their own relationship, and I tapped my foot in a very sexual manner. There were many changes taking place, and I was listening to the right thing at the right time.
Even the most superficial spin of this disc lets you hear what all the fuss was about. It gets under my skin that John Mayall & The Bluesbreakers have so unfairly been relegated to a lesser place in musical history, when all it takes is a listen to a song like “Parchman Farm,” to show you all that Cream would ever be. All of the music found here is innovative, and fluid ... just float with “What’d I Say,” hear how wonderfully they slow it down, and those choice notes from The Beatles “Day Tripper,” never fail to put a smile on my face. It is easy to see why John Mayall has remained such a propionate figure to so many, he not only uses instruments in ways that compliment each other, but the man has chosen cover songs that compliment his original works seamlessly. This is probably the first non jazz album I had ever heard that allowed its members to stretch out with precision, traveling without wondering aimlessly.
This music is as bright and fresh as the day it was recorded ... it’s timeless and will endure through the ages. It doesn’t matter what genre you dig most, this is essential listening, and has effected every musician out there in one way or another, whether they know it or not. If you don’t own this album, shame on you ... if you’ve been meaning to score yourself a copy, then by all means get out there today and do so.
*** The Fun Facts: The album is also known as 'The Beano Album' because of its cover photograph showing Clapton reading The Beano, a British children's comic. Clapton stated in his autobiography that he was reading The Beano on the cover because he felt like being "uncooperative" during the photo shoot. The photographer was Derek Wedgbury and the location was near the Old Kent Road.
Despite being listed on the album jacket, Eric Clapton was responsible for but one single song on the release, and even that "Double Crossing Time," was co-penned by Mayall.
Originally, John Mayall intended for his second album to be also a live venture in order to capture the guitar solos performed by Eric Clapton. A set was recorded at the Flamingo Club, with Jack Bruce (with whom Clapton would subsequently work in Cream) on bass. Due to the shaky recordings of the concert and the lack luster quality of the performance, the adventure was cancelled.
Of course I traveled with my Stones albums and listening to Dylan with the passion I did raised many eyebrows among my friends. So when I showed up at school with this Blues Breakers album, I felt that I had stepped across some sort of imaginary line that indicated unacceptable behavior. The album cover was not attractive in the least, but for me it was compelling, revealing a gritty side of life that didn’t just call to me, it shouted my name out loud. I loved this cover, a true snapshot, nothing posed [though I was to find out later that it really was extremely posed], nothing manipulated, just the guys sitting at a train stop, waiting to relentlessly move on. I got it [!] ... for once it wasn’t about the clothes, or the cool hair cuts, it was about the music. This cover was not lost to the thinking of other musicians either, it became a subliminal message for saying, “It’s not about us, it’s about the music.” This cover has been copied in many variations, with probably the most famous being by Crosby, Stills, and Nash.
But it was what was inside that really got to me, this was like the music that came in on my small transistor radio during the wee hours on damp rainy nights; from places like Galveston, Baton Rouge and Memphis. I loved it, even if I couldn’t dance to it, because it settled in a fresh new spot, and I was addicted to the feeling. Oh yeah, I put the colourful scarves over the lamps in my room, creating atmosphere ... my head, neck, and shoulders developed their own relationship, and I tapped my foot in a very sexual manner. There were many changes taking place, and I was listening to the right thing at the right time.
Even the most superficial spin of this disc lets you hear what all the fuss was about. It gets under my skin that John Mayall & The Bluesbreakers have so unfairly been relegated to a lesser place in musical history, when all it takes is a listen to a song like “Parchman Farm,” to show you all that Cream would ever be. All of the music found here is innovative, and fluid ... just float with “What’d I Say,” hear how wonderfully they slow it down, and those choice notes from The Beatles “Day Tripper,” never fail to put a smile on my face. It is easy to see why John Mayall has remained such a propionate figure to so many, he not only uses instruments in ways that compliment each other, but the man has chosen cover songs that compliment his original works seamlessly. This is probably the first non jazz album I had ever heard that allowed its members to stretch out with precision, traveling without wondering aimlessly.
This music is as bright and fresh as the day it was recorded ... it’s timeless and will endure through the ages. It doesn’t matter what genre you dig most, this is essential listening, and has effected every musician out there in one way or another, whether they know it or not. If you don’t own this album, shame on you ... if you’ve been meaning to score yourself a copy, then by all means get out there today and do so.
*** The Fun Facts: The album is also known as 'The Beano Album' because of its cover photograph showing Clapton reading The Beano, a British children's comic. Clapton stated in his autobiography that he was reading The Beano on the cover because he felt like being "uncooperative" during the photo shoot. The photographer was Derek Wedgbury and the location was near the Old Kent Road.
Despite being listed on the album jacket, Eric Clapton was responsible for but one single song on the release, and even that "Double Crossing Time," was co-penned by Mayall.
Originally, John Mayall intended for his second album to be also a live venture in order to capture the guitar solos performed by Eric Clapton. A set was recorded at the Flamingo Club, with Jack Bruce (with whom Clapton would subsequently work in Cream) on bass. Due to the shaky recordings of the concert and the lack luster quality of the performance, the adventure was cancelled.
Published
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While not the beginning of "The British Blues" this is certainly one of the keystones of the foundation. Clapton is the one most talked about on the album, and rightly so. His guitar on tunes like "All Your Love", Hideaway", and especially "Have You Heard" is amazing, particularly for 1965. Many would follow in that style, but Clapton was leading the way for sure. Props also need to got to John McVie on bass, and of course Mayall. If nothing else, this album got a lot of people into the likes of Freddie King, Mose Allison, and Otis Rush, and that deserves plenty of praise right there. I've long thought Mayall deserved a spot in the Rock and Roll Hall of Fame for his contribution to blues and rock. Without his early and mid 60's work, we may never have had Cream, Zepplin, Deep Purple, or many other great British Blues based bands. At the very least, things would have been different without him, and probably not nearly as good.
Published
Blues Rock Fully Formed
I'm surprised to find an album this deep within 1966 and rarely mentioned on 60s album retrospection. I prefer this album over 2/3rs of CREAM's discography. Not only has Clapton's guitar playing reached a peak, but everyone in the band are excellent. Successfully combining Blues with the upbeat pace of Rock-n-Roll, and not just with a guitar but the drums, the horns, the soulful vocals, it's there. Where The Rolling Stones tried to something similar, they went for a stronger pop route akin to The Beatles. This is undoubtedly the year when Blues Rock is formed in album form, along with other musicians.Published
I knew when I saw the word "blues" and the name "Eric Clapton" I was going to not be a fan of this, and despite a somewhat strong opening, I was right. Every song reads as the same boring, repetitive, misappropriation of a genre I already don't care for, and every time I had a hint of joy stem from the music it was because the song happened to be short and ended. I mean, Clapton isn't as big of a part of this as I thought he was, but that doesn't mean I still don't find his guitar picking to be dull and the songs to all feel the same. It got to the point where I was pretty much numb to everything this album threw at me, and not even clocking in at forty minutes and still getting that feeling is mighty impressive. Was this a big part of the British blues scene and Clapton's career? Perhaps, but that doesn't instantly make it good, in fact I'd argue we're all worse off for it.
Published
Can’t seem to figure out whether RYM hates Eric Clapton. Or if Eric Clapton is just popular vecayse people hate him or if they like him. This album generally fades into the background for me. There’s actually some interesting moments where they innovate or use the instruments in a fascinating way. I’m not gonna deny that for 1966 this record was forward thinking.
6.5/10
6.5/10
Fave tracks: have you heard, all your love, double crossing time, little girl, what id say
Published
Amazing blues rock release.
Highlights: steppin' out, hideway, all your love, it ain't right
Then: little girl, double crossing time, key to love
79/100
Highlights: steppin' out, hideway, all your love, it ain't right
Then: little girl, double crossing time, key to love
79/100
Published
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Contains a few early examples of the 60s/70s rockisms I hate (rock drum solos are pretty much always horrible to listen to), but overall this is some nice deep bluesy rock. Not my go to kind of thing at all, but mostly decent to have on in the background.
Published
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