This is so well-written that I'm going to have to keep revisiting it. While I'm familiar with some of the "participants", I don't think I'd heard much of this album, other than a passing comment. The genre is way up my street, so this is exactly what I needed to, if you'll pardon the pun, beat the Monday blues. Thank you!
Thanks for highlighting this post, which I had missed, and very much appreciate the spirit.
Since you mentioned Monday blues, I was just thinking about an Albert King session recording which shares some of the qualities praised in this post (linked note is about "Stormy Monday "): https://substack.com/@earnestnessisunderrated/note/c-78250742?
Thank you so much, Andres. I really appreciate your reading, commenting, restacking, and enthusiasm for this piece. It took me longer than expected to write; mind you, we did have Thanksgiving over here, but it is an album I have wanted to write about for a while now, and I wanted to do it justice. I totally recommend you listen to the LP in its entirety. It's also not a difficult LP to find, but it's gone up in value with various reissues (Speakers Corner, Mofi, etc.). However, it is still one you should be able to find in decent nick for about 20 quid (my loved and well-played original 1968 Columbia 360 still sounds great to my ears!).
The title got me, loved that song. Another nostalgic, inspiring trip down memory lane. I agree, more jamming, more playful improvisation, does us all good. Thanks for another fun read and listen.
Thank you, Deborah! Music, art, poetry, dance, books, films, etc., are all good for the soul. The 'Super Session' record is wonderful for immersing oneself in and forgetting about the world as it spins and fills the room with its music.
Thank you! Spent many a time with the lava light burning softly, patchouli incense burning (to hide that “other” smoky aroma) and the stereo cranked listening to this album. Think we must have worn the grooves straight through the disk on this one!
Thanks for reading, CE! Whenever I play 'His Holy Modal Majesty,' I can smell that patchouli and other aromas drifting in Al Kooper's spiraling organ notes! I hope my piece inspired you to dust down your LP and give it another spin. They don't make grooves like it these days. Cheers for stopping by!
Thank you, Nuno! I appreciate you reading it and your kind comment. I totally agree; it's a fantastic album I discovered when I was probably 17, many years after its release, but over the years I have never grown tired of it. With every spin, I can feel its raw energy pouring out of my speakers straight into my heart.
I always love your writing Michael and the passion that comes through for these albums that you obviously love. I also very much appreciate these gems you uncover. While many of your readers (at least the ones that comment) seem to be familiar with them, you’ve introduced me to so many great albums. I’ve started off this one with the Season of the Witch cover, playing now, which I’m really enjoying. I’ve saved the album to my “Substack Discoveries” playlist for further listening.
Thank you, Mark! I always appreciate your thoughtful comments. When I started this Substack, my aim was to write about overlooked or forgotten music and art that I love and haven't already been written about endlessly (I struggle to know what to say or add about albums or paintings that have already been written about ad nauseam). When I hit "post," I always hope those who have taken the time to stop and read will listen to the linked track/s, maybe even go to the full album and give it a spin, and look at the art if I have written about visual art, and ultimately discover something new they might enjoy or appreciate. It makes me happy to read that you have!
One of the joys of the live follow-up album is Mike Bloomfield's introduction: "...and we're gonna jam because what the hell, how much do we know?" Between that and his calling Kooper "Alan" it's priceless.
Lots of great stuff here Michael, thanks for writing this. A couple of things though, the recording sessions took place in Los Angeles, while horns, final overdubs and mixing were done in New York. And I think you'll find that's Kooper's Hammond playing, not Goldberg's. But these are details, what you got over was how the music made you feel, and that's the most important thing!
Thanks, Adam, for the correction of the location of the recording. That explains why Kooper phoned the three West Coast guitarists to fill in for Bloomfield when he split. At some point, I will edit this piece for accuracy purposes.
Everything I have read, however, points to Goldberg playing the solo in 'Stop,' as it is the only track he is credited on. Kooper, also only learned how to play the keys/organ a few years prior when he realized he couldn't compete with Bloomfield on the guitar (during the Dylan 'Hwy 61' sessions). Goldberg, however, was a well-known and respected pianist, and that solo is so hot that it makes sense it came from somebody with more technical proficiency. That said, I am happy to be proven otherwise.
It's Kooper on organ, he learned fast! Goldberg only plays electric piano on the blues tunes that open and close side one - 'Albert's Shuffle' and 'Really?'. Kooper wrote a lot about this in his book 'Backstage Passes and Backstabbing Bastards' which is one of the most entertaining musician autobiographies I've ever read. Incidentally, the great Harvey Brooks is alive and well and living in Jerusalem.
Thank you, Adam. I have edited these details for accuracy purposes. I haven't read Kooper's autobiography, but on your rec, I will definitely check it out. I did, however, know that Harvey had moved to Israel.
Thank you, D-Baby, for reading and your comment! I totally agree that Stills is such an underrated musician. I love his first two solo albums and a lot of the third as well.
Very well written piece. I think the subject matter is difficult to make accessible but you mastered it. I’ve not listened to that album for over a decade and you’ve inspired me to return to it.
Too true. Or, on social media (being a watcher rather than a doer!).
This is so well-written that I'm going to have to keep revisiting it. While I'm familiar with some of the "participants", I don't think I'd heard much of this album, other than a passing comment. The genre is way up my street, so this is exactly what I needed to, if you'll pardon the pun, beat the Monday blues. Thank you!
Thanks for highlighting this post, which I had missed, and very much appreciate the spirit.
Since you mentioned Monday blues, I was just thinking about an Albert King session recording which shares some of the qualities praised in this post (linked note is about "Stormy Monday "): https://substack.com/@earnestnessisunderrated/note/c-78250742?
Thank you, Nick! Will take a look
Thank you, Nick! You can tell there is mutual respect between King and Stevie Ray! And, King's Flying V is totally badass!
Thanks. It's for to have the video and see how intently they're both looking at each other and watching what the other one is doing.
Albert King is just generally badass in that video :)
Thank you so much, Andres. I really appreciate your reading, commenting, restacking, and enthusiasm for this piece. It took me longer than expected to write; mind you, we did have Thanksgiving over here, but it is an album I have wanted to write about for a while now, and I wanted to do it justice. I totally recommend you listen to the LP in its entirety. It's also not a difficult LP to find, but it's gone up in value with various reissues (Speakers Corner, Mofi, etc.). However, it is still one you should be able to find in decent nick for about 20 quid (my loved and well-played original 1968 Columbia 360 still sounds great to my ears!).
You nailed it. A great work.
Thank you so much, Daniel! Much appreciated!
The title got me, loved that song. Another nostalgic, inspiring trip down memory lane. I agree, more jamming, more playful improvisation, does us all good. Thanks for another fun read and listen.
Thank you, Deborah! Music, art, poetry, dance, books, films, etc., are all good for the soul. The 'Super Session' record is wonderful for immersing oneself in and forgetting about the world as it spins and fills the room with its music.
Thank you! Spent many a time with the lava light burning softly, patchouli incense burning (to hide that “other” smoky aroma) and the stereo cranked listening to this album. Think we must have worn the grooves straight through the disk on this one!
Thanks for reading, CE! Whenever I play 'His Holy Modal Majesty,' I can smell that patchouli and other aromas drifting in Al Kooper's spiraling organ notes! I hope my piece inspired you to dust down your LP and give it another spin. They don't make grooves like it these days. Cheers for stopping by!
What a great album!
Agreed! Thanks, for reading Mark.
An impressive release indeed.
Great piece of writting.
Great work.
Congrats. 👍
Thank you, Nuno! I appreciate you reading it and your kind comment. I totally agree; it's a fantastic album I discovered when I was probably 17, many years after its release, but over the years I have never grown tired of it. With every spin, I can feel its raw energy pouring out of my speakers straight into my heart.
I always love your writing Michael and the passion that comes through for these albums that you obviously love. I also very much appreciate these gems you uncover. While many of your readers (at least the ones that comment) seem to be familiar with them, you’ve introduced me to so many great albums. I’ve started off this one with the Season of the Witch cover, playing now, which I’m really enjoying. I’ve saved the album to my “Substack Discoveries” playlist for further listening.
Thank you, Mark! I always appreciate your thoughtful comments. When I started this Substack, my aim was to write about overlooked or forgotten music and art that I love and haven't already been written about endlessly (I struggle to know what to say or add about albums or paintings that have already been written about ad nauseam). When I hit "post," I always hope those who have taken the time to stop and read will listen to the linked track/s, maybe even go to the full album and give it a spin, and look at the art if I have written about visual art, and ultimately discover something new they might enjoy or appreciate. It makes me happy to read that you have!
Great piece of one of my favorite albums of its - or any - era. Had it on cassette (long gone now) and LP. Still prized.
Thank you, Michael. Much appreciated. I hope you dug out your LP today, dusted it down, lowered the tonearm, and turned the volume up! 😎
One of the joys of the live follow-up album is Mike Bloomfield's introduction: "...and we're gonna jam because what the hell, how much do we know?" Between that and his calling Kooper "Alan" it's priceless.
I also love Bloomfield's spontaneous intro, as well as Al's at the beginning of Side three. Thanks for reading, Oscar!
Lots of great stuff here Michael, thanks for writing this. A couple of things though, the recording sessions took place in Los Angeles, while horns, final overdubs and mixing were done in New York. And I think you'll find that's Kooper's Hammond playing, not Goldberg's. But these are details, what you got over was how the music made you feel, and that's the most important thing!
Thanks, Adam, for the correction of the location of the recording. That explains why Kooper phoned the three West Coast guitarists to fill in for Bloomfield when he split. At some point, I will edit this piece for accuracy purposes.
Everything I have read, however, points to Goldberg playing the solo in 'Stop,' as it is the only track he is credited on. Kooper, also only learned how to play the keys/organ a few years prior when he realized he couldn't compete with Bloomfield on the guitar (during the Dylan 'Hwy 61' sessions). Goldberg, however, was a well-known and respected pianist, and that solo is so hot that it makes sense it came from somebody with more technical proficiency. That said, I am happy to be proven otherwise.
It's Kooper on organ, he learned fast! Goldberg only plays electric piano on the blues tunes that open and close side one - 'Albert's Shuffle' and 'Really?'. Kooper wrote a lot about this in his book 'Backstage Passes and Backstabbing Bastards' which is one of the most entertaining musician autobiographies I've ever read. Incidentally, the great Harvey Brooks is alive and well and living in Jerusalem.
Thank you, Adam. I have edited these details for accuracy purposes. I haven't read Kooper's autobiography, but on your rec, I will definitely check it out. I did, however, know that Harvey had moved to Israel.
You’re a fine writer, Mr. Fell.
Another reminder that Stills is underrated.
It sucked to be a late 70s kid, still playing catch-up today. Really enjoy the perspective, professional, not fanboy.
Thank you, D-Baby, for reading and your comment! I totally agree that Stills is such an underrated musician. I love his first two solo albums and a lot of the third as well.
Very well written piece. I think the subject matter is difficult to make accessible but you mastered it. I’ve not listened to that album for over a decade and you’ve inspired me to return to it.
Thank you for taking the time to read and leave your comment, Frank. I hope you enjoy the album as much today as you did when you last listened to it!
I concur, 100%. Maybe the onset of AI generated music with result in a backlash.
Really cool story- thanks, man!
Thank you for reading, Monty!
Great album of my youth for sure! Well written.
Thank you, Mark! Cheers for stopping by, reading, and leaving a comment!