Mike Bloomfield, Al Kooper & Stephen Stills - Super Session DTS

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Mike Bloomfield, Al Kooper & Stephen Stills - Super Session DTS
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Artist...............: Mike Bloomfield, Al Kooper & Stephen Stills
Album................: Super Session
Genre................: Blues
Source...............: CD
Year.................: 1968
Burn test............: 10/22/2012
Method:..............: SPEC-ArcTan-PTA
Channels.............: DTS 5.1 / 44100 HZ / 16 Bit
Included.............: WAV, NFO, CUE, Cover
Posted by............: MrMalikai on 10/27/2012
How to burn a DTS CD
How to Play a DTS-CD or DTSWav

Information..........: Play it LOUD!
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Tracklisting
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1. Al Kooper & Mike Bloomfield - Albert's Shuffle
2. Al Kooper & Mike Bloomfield - Stop
3. Al Kooper & Mike Bloomfield - Man's Temptation
4. Al Kooper & Mike Bloomfield - His Holy Modal Majesty
5. Al Kooper & Mike Bloomfield - Really
6. Stephen Stills & Al Kooper - It Takes a Lot to Laugh, It Takes a Train to Cry
7. Stephen Stills & Al Kooper - Season of the Witch
8. Stephen Stills & Al Kooper - You Don't Love Me
9. Stephen Stills & Al Kooper - Harvey's Tune

Playing Time.........: 00:50:14
Total Size...........: 507.00 MB
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It's a stereo to DTS 5.1 conversion. Burn it to a standard CD-R.
Can be played on home theater systems that have a DTS decoder
and on PC's with the software to play DTS.
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As the Beatles' Sgt. Pepper's Lonely Hearts Club Band (1967) had done a year earlier, Super Session
(1968) initially ushered in several new phases in rock & roll's concurrent transformation. In the
space of mere months, the soundscape of rock shifted radically from two- and three-minute
danceable pop songs to comparatively longer works with more attention to technical and musical
subtleties. Enter the unlikely all-star triumvirate of Al Kooper (piano/organ/ondioline/vocals/guitars),
Mike Bloomfield (guitar), and Stephen Stills (guitar) -- all of whom were concurrently "on hiatus"
from their most recent engagements. Kooper had just split after masterminding the definitive
and groundbreaking Child Is Father of the Man (1968) version of Blood, Sweat & Tears. Bloomfield
was fresh from a brief stint with the likewise brass-driven Electric Flag, while Stills was late of
Buffalo Springfield and still a few weeks away from a more or less full-time commitment to David
Crosby and Graham Nash. Although the trio never actually performed together, the long-player
was notable for idiosyncratically featuring one side led by the team of Kooper/Bloomfield and the
other by Kooper/Stills. The band is ably fleshed out with the powerful rhythm section of Harvey
Brooks (bass) and Eddie Hoh (drums) as well as Barry Goldberg (electric piano) on "Albert's Shuffle"
and "Stop." The heavy Chicago blues contingency of Bloomfield, Brooks, and Goldberg provide a
perfect outlet for the three Kooper/Bloomfield originals -- the first of which commences the project
with the languid and groovy "Albert's Shuffle." The guitarist's thin tone cascades with empathetic
fluidity over the propelling rhythms. Kooper's frisky organ solo alternately bops and scats along
as he nudges the melody forward. The same can be said of the funky interpretation of "Stop,"
which had originally been a minor R&B hit for Howard Tate. Curtis Mayfield's "Man's Temptation"
is given a brass-fuelled soulful reading that might have worked equally well as a Blood, Sweat &
Tears cover. At over nine minutes in spin time, "His Holy Modal Majesty" is a fun trippy waltz and
includes one of the most extended jams on the Kooper/Bloomfield side. The track also features
the distinct hurdy-gurdy and Eastern-influenced sound of Kooper's small electric keyboard-manipulated
ondioline, which has a slightly atonal and reedy timbre much like that of John Coltrane's tenor
sax. Because of some physical health issues, Bloomfield was unable to complete the recording
sessions and Kooper contacted Stills. Immediately his decidedly West Coast sound -- which alternated
from a chiming Rickenbacker intonation to a faux pedal steel -- can be heard on the upbeat version
of Bob Dylan's "It Takes a Lot to Laugh, It Takes a Train to Cry." One of the album's highlights
is the churning and scintillating cover of "Season of the Witch." There is an undeniable synergy
between Kooper and Stills, whose energies seems to aurally drive the other into providing some
inspired interaction. Updating the blues standard "You Don't Love Me" allows Stills to sport some
heavily amplified and distorted licks, which come off sounding like Jimi Hendrix. This is one of those
albums that seems to get better with age and that gets the full reissue treatment every time
a new audio format comes out. This is a super session indeed. http://www.allmusic.com